Joshua I Got Tired Of Joseph Tillman Analysis

Artists can write new narratives, challenge artistic conventions like the artists of the

The documentary displays how a Texas established creator named Tim Jenison tried to unravel one of the extreme secrecies in art. The documentary explains that how Tim Vermeer accomplished so much by painting a scene so good that it looked like an actual photo 150 years before they invented photography. Tim Jenison arranged a simple research to test the idea that he had in mind. He does not know how to paint but in a few hours he

Identity is the pursuit of artists in their work, especially after the end of World War II. Artists have different ways to express their own identity of meanings in their works by many diverse factors such as gender, class, cultural factor, and political factor. In this article, I will compare Ah Xian and Kerry James Marshall works of art, and analyze the similarities and uniqueness of their works as well as the process and reasons of their identity. I will explain the construction of identity and fluidity of identity by comparing the art works of Ah Xian and Kerry James Marshall. Ah Xian grew up in China, and then emigrated to Australia and lived for almost twenty years.

In his hole he says “there is a certain acoustical deadness in my hole, and when I have music I want to feel its vibrations, not only in my ear but with my whole body” (Ellison 7). In his hole, he is lifeless and meaningless, but music makes him feel alive. The meaning of music makes him feel less invisible. He understands the history and importance of the music and “not only entered the music but descended, like Dante, into the depths” (Ellison 9). Like Dante’s Inferno he goes deeper into the music and finds the meaning.

My considered response is on the poem, “Did I Miss Anything?” by Tom Wayman. This poem is about a teacher that is answering the question, “did I miss anything”. The teacher does answer the question; however they do it in a roundabout, overly sarcastic and exaggerated manner. The teacher shifts from saying they did nothing while the student was absent to saying that they did everything in the next stanza. In my considered response I will explain the poetic devices I found in the poem.

He explores the links between Dadaism, Surrealism and postmodernism; all in which photography is a medium heavily used. We see influences from famous Dadaist and Surrealist photographers such as Man Ray, Alfred Steiglitz, Marcel Duchamp and Brassai - indeed, some of these photographers overlap into postmodernism; for example, Alfred Steiglitz’s photographs of Marcel Duchamp’s “Fountain” is a prime example of this. Sherrie Levine went on to appropriate Marcel Duchamp’s readymades. Whilst Dadaism was a political movement, and Surrealism a philosophical movement, both centred on deconstruction and re-representation - just like postmodernism. Foster goes through an explanation of modernism in order to be able to define postmodernism, and how postmodernism is a natural evolution: artists must move on from traditional methods of expression in order to continue making challenging works.

According to Bazin, today no one recognizes the ontological link between the body and a representation: “No one believes any longer in the ontological identity of model and image, but all are agreed that the image helps us to remember the subject and to preserve him from a second spiritual death”. The need for survival after death is no longer a concern for the arts, instead, now the focus is on “the creation of an ideal world in the likeness of the real, with its own temporal identify.” Today the plastic arts aim to create a virtual world that is near the realms of realism and has nothing to do with life and afterlife. This explains why photography and cinema caused “the great spiritual and technological crisis that overtook modern painting” in the 1850s.

Isabel Herrera Mrs. Keys AP Lang and Comp April 6, 2023 The Art Of Music Shifting Identity Through Lives The Oxford language defines identity as "the fact of being who or what a person or thing is" However, to me, it means much more than that. When the word identity comes to mind, we typically think of what one looks like, whom they surround themselves with, how they dress, or their culture. The word itself has many meanings as its interpretation is subjective and is determined by what an individual surrounds themselves with and what they believe to be true about themselves.

Some have coined music as a universal language. Perhaps, the complexity of the notes, the consistency of the beat, the array of instruments, or the flow of lyricism offers this universal appeal. Nevertheless, the unique composition of each song enables it to sustain its own magnetic aura, much like the musical implication in Lewis Nordans Music of the Swamp. Though, many argue Nordans piece suggests merely a collection of short stories rather than a novel, Nordan uses his singsong methodology- a novel-in-stories- to incorporate an anthology of his transformative memory- an autobiography of the way it was.

“Identity would seem to be arrived at by the way in which the person faces and uses his experiences” was said by James Baldwin. This quote helps convey the idea of identity in art. When someone creates a piece that holds or portrays an aspect of identity, the artwork may symbolically represent many experiences that occurred to the artist, whether that may be positive or negative. The work may also visually depict personal problems, for example the Post-Impressionist artist Vincent Van Gogh when he painted his tumult life. Van Gogh used not only his personal experiences of failing at so many careers and unfortunate events in his life, but also his use of alcohol, tobacco and his depression and his possible acute intermittent porphyria to create his swirling, colourful pieces.

From a piece of news about Jackson Pollock 's death, Allan Kaprow starts to review Jackson Pollock who promotes the progress of art. It is well known that Jackson Pollock is a great artist, and helping America art advances a lot. Therefore, Pollock 's death is a terrible thing to many people, and even they feel lose some important things. Meantime, America was holding a “sanity in art” movement during that time, Jackson Pollock’s works of art were be criticize. Nevertheless, great works of art will not be ignore all the time.

Subsequently, they take these once-private concepts and put them on display for all to see. The audience of their art is strengthened and revitalized in a variety of measures: anything from a feeling of solidarity where they once felt alone, to gaining a new philosophy that guides them through their lives. The unfortunate and unintended consequence of putting all of oneself into their work, however, is watching their personal life deteriorate as they borrow more and more from this private world, leaving little to keep for their personal self. In Jorge Luis Borges’ short essay “Borges and I,” this tormentation that the artist endures at their own hand is explored in depth.

Every stage of art history reflects its time, necessities, culture, society, politics and people. In the early twentieth century, art started to change its nature. Gradually it became alive, sensitive and reflective and art acquired the ability to shout, scream, cry, bleed and die. Art started to participate, to ask and provoke in the viewer action and reaction. Art stopped being a mute object on the wall and started to demand in active relationship with its audience.

And those photographers were influenced by the history of painting; they develop their works freely. Schwabsky wrote in the essay. “ A polemic today’s painters no longer seem to feel called upon to make decisions of the image-realm over some other reality. Instead, they feel that everything has to be a matter of images.” However, he also mentioned, “It was photography taught us the modern idea of the image, it is painting that allows us to internalize it.

2002, p. 327). Moreover, since postmodern thinking investigates the social role of representation, the arists started to underline its ambiguity among the consumer society, revealing on one hand the rapid and inevitable separation between image and reality, on the other taking distance from one of the fundaments assigned to the artwork: the creative originality. ‘everything can be collected and re-used in another context, everything is on the same level, on an absolute surface that does not entail either ‘out’ or ‘depth’ underlines Elio Grazioli. (1998, p. 294).