Global art scene

Introduction

Wong, Schubert, Weibel & Buddensieg offer important information based on museum from history to modern world. It is true that the museum has changed in terms of its functions.  Normally, the role of museum in society is to deliver a social message, provide a cultural heritage which connected people with customs, social values and unity. However,  museum in contemporary world has changed  in that instead  of serving the nation, community and the general public, it has  shifted to ‘consumer society’. In others words, museums are acting as corporate where they charge the general public while abandoning the cultural heritage. ‘The new museum’ has undervalued the role of tangible culture heritage in culture preservation but rather its operations are viewed through financial perspective where it serves institution’s self-interest.

According to Schurbet, the new museum has the following characterizes. The first typical characteristic is seen on the architecture. The new museum is characterized by autonomous building that does not display modern art.  The new museum is using fluorescent lighting which makes the interior to appear dark (Schurbet, 163). Second, the new museum architecture   has unique form and function in that it does not focus on creating an elite culture where all people gain education and enjoy the democratic rights. What happens is that it rests on old utopian notions of ‘democracy of spectacle’ or a society where people should focus on material reconstruction, material life and stick on self-sustaining nature. The architecture is characterized by technological advancement and this affects the historical art of display. The second typical characterizes is based on exhibition. The new museum has permanent displays and do not establish new programmes on displays and exhibition (Schurbet, 166). The new museum is characterized by act of abandoning the old guiding principles and historical ground rules that emphasized on education to entertainment. Today, museum ignores quality but value quantity simply because it focuses on mass markets and ignores art markets. In the old museum, people felt an erstwhile experience while the new museum   uses personal knowledge to offer ‘intensity experience’ characterized by peculiar euphoria (Schurbet, 163).  Other interesting point is that   the new museum acts as a corporation as it holds institution’s power; it has directors, trustees, departments from public relations, architects and consultants who support the operations. However, there is not doubt that the act of behaving like a business will lead to potential problems. First, the museum will shift from art markets to mass markets where it will be offering simulation of reality (Schurbet, 163).  Other potential problem to corporate model is that it will experience a classic power which will bring conflict in the institutional structure-decision making. With the merging technology, The Los Angeles County Museum of Art has shifted from the traditional ways to contemporary ways where it offer interactive experiences to visitors.  It has undervalued the need for education and interaction from physical access.  Note that traditional museum offered an opportunity for individual narrative but in contemporary world, the new museum concentrate on digitization of information (Schurbet, 163). 

 The Lubumbashi context tells that it is the high time to re-think about the role of the museum   and focus on the way of preserving the artifacts. In addition, it is the high time to redefine the functions as well as the goals in order to fulfill the needs of the changing world.  Thus, museum should be restructured in a way that they should   bring society development in terms of maximizing interaction, peace and unity (Weibel & Buddemsieg, 94). In the new museum, societies do not value the heritage-related practices and cultural memory.  It is important to re-think the role of museum through valuing the   heritage-related practices in order to understand our cultural rights and more important create a cultural identity. The points are that heritage as a museum practice is a way of valuing the traditional knowledge   and make museum as a place of conservation. In addition, societies should re-think the role of museum by valuing the cultural heritage where material medium and cultural memory interact (Weibel & Buddemsieg, 95). From the article, Jewsiewicki tends to meet the needs of people by establishing a shared heritage which creates a cultural memory.  In addition, he meets the needs of the people through bringing cultural products to the museum and performing the popular painting.  He also ensures that visitors develop knowledge and skills through engaging in difference forms such as workshops.  Popular painting serve an important role in that people develops a collective memory through sharing narratives. Through shared reception, people engage in a creative relation (Weibel & Buddemsieg, 97).

 The museum boom in China started from 2002-2013 when fifteen hundred museums were built. A point to note is that the new museum has additional functions that present a symbolic role. In establishing the museum, the Chinese Communist Party   was influenced by the need to create culture credibility. With this goal, it created “Ten Great Building” which encompasses ‘the National Museum of Chinese’, the ‘China Agriculture Museum’ and others (Wong, 1). Later, new museums were built though they were flawed due to lack of good infrastructure   which was caused by to economic disaster. Contemporary museums are run by nonprofit organization in U.S or culture ministry in Europe (Wong, 3).  The Chinese museums are public and their design signifies an official power.  The museum presents a cosmopolitan art of contemporary Chinese. The interesting thing is that the museums are politically legitimized or in other words they act as a real estate schemes and ‘cultural industry’ (Wong, 4). These museums value the culture as a path of creating democracy and cultural heritage. However, the Chinese museum reflects the Schubert characteristic of ‘the new museum’ in that the cultural institutions with a political structure focus on market economy   and real capital. Today, the new museum is transformed into private ownership and has abandoned the culture-heritage (Wong, 4).

Conclusion

 ‘The new museum’ overlooks the cultural framework that provides public benefit in terms of education and enjoyment. The museum focus on passive consumer while fulfilling the institutional interest. The bad thing with the new museum is that it has ignored the importance of cultural heritage. Note that museum provide cultural heritage where people are connected to traditional and beliefs. In addition, museum allows people to form a cultural identity and conserve heritage.  However, the new museum is influenced by mass markets where a consumer society and a democracy of spectacle are formed. This means that the new museum create a society characterized by anti-democracy and a totalitarian society.

Work cited

Wong Winne. China’s museum boom.  ARRESTING DEVELOPEMNT. 2015

 Weibel Peter & Buddemsieg Andrea.  Contemporary Art and the Museum. A global Perspective.  2007

 Schubert Karsten.  The Curator’s Egg.  The evolution of the museum concept from the FrenchRevolution

to the present day.  2009

Religion and Arts

Goddess Santoshi Maa is characterized as the goddess of hope, due to the support she offers those who worship her. Due to that reason she has been able to gain worshippers, who look up to her, for assistance in times of need. Santoshi Maa is not also compared to other God’s due to her golden heart, thus making her to assist those who are need (Satram, n.p). She therefore possesses the following character traits, she is loving, caring and supportive to those who worship her, and this will be later on explained in this paper. Other than that, Santoshi Maa is different from the other gods, and her mode of dressing, gesture, posture, demeanour and paraphanerlia are different from the rest. She is unique in her own making, a factor which distinguishes her greatly from the other gods.

Goddess Santoshi Maa dresses up in Sari’s with less chains and bungles as compared to other goddesses. Her golden necklaces are much more less as compared to that of the other goddesses. She wears a bigger crown, which resembles that of a queen. Her eyes are coloured with red colours. On her right hand she holds a sword, and on her left hand she holds a spear. She possess while sitting down, with her legs crossed. On the other side of her left leg is a cup full of food, which symbolises care. The sword on her right hand and the spear on her left hand symbolize peace, since she is ready to fight for her worshippers, thus keeping them away from any form of trouble. Finally, she is kind and loving, a factor which makes her to support and provide assistance to Satyawati, after her husband Birju was attacked by goddesses Durga and Maya (Satram, n.p). In sum, Santoshi Maa was more like a mother who provided support to her followers, and would therefore do everything to protect her followers from any forms of attack from Durga or Maya.     

Santoshi Maa was worshipped in different ways by her worshipper, with Satyawati being her chief worshipper. Satyawati consequently praised Santoshi Maa through singing praises, which portrayed the goddess as powerful, merciful and glorious. Through singing praises to Santoshi Maa, Satyawati became very close to Santoshi Maa, hence she provided any form of assistance whenever Satyawati was in problems. On the other hand, whenever Santoshi Maa became mad and decided to punish people, Satyawati would ask her not to punish the people, and Santoshi Maa would listen and stop punishing the people (Satram, n.p). In addition, due to the fact that Satyawati followed Santoshi Maa, she became rich, got a good husband back and she also got the life which she had yearned for. Satyawati’s trust and commitment to Santoshi Maa paid off, because Santoshi Maa was a loving goddess, who would do everything to see those who worship her living happily ever after. Through the praises, Satyawati communicated with Santoshi Maa, making it easier for her to maintain a close relationship with the goddess, hence being able to achieve more, due to the power which Santoshi Maa possessed.

Indeed Santoshi Maa was powerful, loving and caring, and this became evident through the way she loved her chief worshipper. The movie also shows how Santoshi Maa never left Satyawati alone in times of need, because she provide Satyawati with assistance, even after the other goddesses had convinced Birju’s relatives that Birju was dead, she brought him back, making Satyawati to rejoice and thank her for she had brought the love of her life back (Satram, n.p). In addition, to singing songs of praises to Santoshi Maa, Satyawati had faith in Santoshi Maa, a factor which made Santoshi Maa to always deliver, whenever Satyawati asked anything from Santoshi Maa.

  The film Santoshi Maa was basically a religious film, which aimed at encouraging people to worship their goddess, and to also have faith in her. In so doing, their goddess would pay back with good things. This was what the character Santoshi Maa portrayed, making most Indians to be attracted to the character. Due to the way goddess Santoshi Maa supported and cared for Satyawati, it became evident that the powerful, loving caring, mother, and merciful goddess, would also do great things to other people, if they also believed and trusted in the goddess. This therefore made most people to fall in love with the attributes of Santoshi Maa, making it easier for them to be able to worship her, so that they may also be blessed (Plate, 183). On the other hand, since the story of goddess Santoshi Maa was a mythical story, most people believed through the movie, that indeed goddess Santoshi Maa existed, and just as she supported Satyawati, she would also support them if they worshipped and had faith in her. Hence, this led to Goddess Santoshi Maa’s rising to popularity, because people wanted to see the miracles which she could perform, and if she could indeed perform the same miracles to them.             

Work Cited

Satram, Rohera. Jai Santoshi Maa. 2006. Retrieved from: https://www.youtube.com/watch?v=fmqZfNSOqUE

Plate, S.Brent. Religion, Art, and Visual Culture: A Cross-Cultural Reader. New York [u.a.: Palgrave, 2002. Print.

Arts

Introduction

Art was an embodiment of a talent, and whoever had such a gift during the gilded age, was considered lucky. Art was used as a means of creating images, passing information and communicating in artistic languages. The Gilded Age was a period whereby the US was divided according to classes. The ‘Haves and the Have nots’, were the two types of classes in the country. The Haves, represented people of the upper class, while the Have nots represented people of the lower class. The have nots worked for the Haves, in order to make a living. On the contrary, art was not only been used as a means of earning money, but as a means of reflecting the society. Many artists, who include Edward Bannister, Gari Melchers, Caroline Alstor, and Carolus Duran. In this article I will consequently discuss the influence of art on both the society and the judicial system in the twentieth century.

The Reflection of the Society by Art During and after Gilded Age

            In the course of the gilded age, art in the US society flourished, hence it influenced the shaping of the society in different ways. The artworks which were painted during the gilded age, symbolized the reign of industrialization, and a dominant representation of the growth of America, and the discoveries which had already emerged (Downing, 2011). This age is also remembered as a channel to the revelation of the cultural transformations, portrayed in dissimilar social illustrations, which had prejudiced and affected the condition of the American society. A good example of a painting during the gilded age is the “Tree Landscape” by Edward Bannister. The painting epitomized the impressions which were mounting owing to the rural areas of the Rhode Island. During this period, art was used as a means of embracing the painting design of landscape art. The “Tree Landscape” consequently signifies accord and spirituality of differentiated issues in the social representation of the American society (Lampert, 2013).

            Gari Melchers painting of Theodore Roosevelt inspected and analysed social relations and societal guidelines during the period of gilded age. Similarly, a different painting which symbolized the Gilded Age was Caroline Astor’s image by Carolus Duran (Lampert, 2013). Art work was highly interconnected with New York where the Haves who included the queen highly respected fashion. This consequently explains how art influenced the cultural, economic and social lives of the Americans during the gilded age. Art consequently portrayed different aspects of the society, which were not portrayed by other factors (Downing, 2011).

Art and 20^th Century Social Justice Movements.

            A social justice movement, is a system which emerges in order to respond to states of inequality, coercion and unmet political, economic, and social demands. In this setting, art has both defied and moulded the American society in dissimilar ways through surrounding in which to build, encourage, raise and promote change (Upchurch, 2009). For instance, graphic laser printing, has really helped in the creation and distribution of large flyers and posters, for viable advertising in support and distribution of the demands of culture in the present day. This has therefore become an imaginative and artistic form of countenance which helps in the airing of people’s voices. In the modern day, through the help of portraits and visual arts, expressionism brings about a comprehensible movement against social injustices which has been able to shape the morals and opinions of Americans (Dreier, 2012).

            America’s resolution to find the principles to align the political and social order of the liberal era which had developed in the 19^th and 20^th centuries, was applied to find liberty and equality in the 20^th century. Americans found themselves challenged to fight for their own rights, due to the injustices which had prevailed (Upchurch, 2009). This led to the formation of labour movements, political movement, and women’s suffrage movements, in order to fight for their rights. When people unite and form social movements in order to fight for justice, they will consequently emerge victorious, hence being able to enjoy the fruits of their efforts. This therefore led to the formation of a just and better United States (Dreier, 2012).

Diversification

The gilded age, art was used as a means of industrialization, expansion, due to the economic influence that it had to the growth of the economy of the US (Lampert, 2013). Art majorly focused its assortment on the Haves, who were of the upper class, the arrival of the European immigrants and the political partisans. After the end of the gilded age, the great depression emerged. Art concentrated on the scuffles of families, the immigration to the west to find new forecasts, and new techniques of bringing the skills of what is seen to the world (Conner, 2013).

Most artists moved to Europe in order to explore different areas of the world, through the use of art. In addition, they improved and even used art in order to influence different places in Europe. Art was basically about diversification, in the sense that it allowed artists to move to different parts of the world, using art influence the dictates of different societies. In the US, new artistic representations started emerging, and there was also the need to improve art (Lampert, 2013). This consequently led to the invention of different forms art, which led to photography which was a way of improving art. During this time, industrialization dominated in the US, making it easier for the country to invest in art. Diversity was the driving factor of art, thus making most artists to be able to perform art in different parts of the US. Due to diversity, artists were able to pass their messages and influence the American society at ease. Art was consequently able to bringing people in the society, making them to relate positively with each other, hence being able to improve the cultural dictates of the US (Conner, 2013).

My Opinion on the Role of Art Today

            Art shows who we are and what our beliefs in the modern day. People from different parts of the world draw different paintings due to what they are passing through. In addition art acts as a reflection of what the society has to offer. In other words, art describes the type of lives we lead, and influences as to lead such types of lives (Conner, 2013). Furthermore, art enables us to learn through vision the way we are supposed to undertake different tasks in our lives. Due to the historical preservation of paintings and other artistic materials, we are able to understand where we came from, and to also preserve our culture. For instance, through Carolus Duran’s image of Mrs. Caroline, we are able to understand how past events were characterized, and the mode of dressing of the past. This consequently opens our eyes, making as to embrace our own culture (Lampert, 2013).

            In modern day world, art characterizes evolution, through different forms of art. Art is currently being used in most industries all over the world (Conner, 2013). When it comes to designing, art must be involved, a move which consequently makes most things to be related to art. Over the years, different forms of art and designs have emerged, thus signifying the way art changes from time to time. For instance, the architecture of the 19^th century was not similar to that of the 20^th century. As time goes by, art changes, leading to overall changes in the world.

            Due to technological advancements in the 21^st century, art helps in understanding the developments in the world. Through art, new technological advancements have been reached, hence leading to diversity across the world (Lampert, 2013). Art and design have also been used to come up with different inventions which could have not been imagined, hence leading to technological advancements in the world (Conner, 2013). Art has therefore changed technological developments in the world, and it will also change technological developments in the world, since art is the core of industrialization all over the world.

Conclusion

            In this paper, I have discussed about the reflection of the society by art during the gilded age, the impact of art in the 20^th century social justice movement, art and diversification, and I have given out my opinion on the impact of art in the modern day world. In the paper, I have provided the reason as to why art is influenced social, cultural and economic developments in the US during the gilded age. Moreover, I have also explained how diversification enabled art to spread all over the US, thus bringing the haves and the have nots together in the US. Furthermore, most artists were also able to move to different parts of the world freely without any problems at all. Finally, art impacted modern day world through improving the technological advancements all over the world.

Reference

Downing, J. D. H. (2011). Encyclopedia of social movement media. Los Angeles [etc.: Sage Publications.

Upchurch, T. A. (2009). Historical dictionary of the Gilded Age. Lanham, Md: Scarecrow Press.

 Conner, L. (2013). Audience engagement and the role of arts talk in the digital era.

Dreier, P. (2012). The 100 greatest Americans of the 20th century: A social justice hall of fame. New York: Nation Books.

Lampert, N. (2013). A people's art history of the United States: 250 years of activist art and artists working in social justice movements.

How Artists Challenged the Primacy of Western Europe and North America in Their Artwork

The arrival of the twentieth century created the notion for artists to believe that art needed to get into a completely fresh unique and new contemporary age. Art became more that just images and artists where utilizing different concepts in creating objective reality. This created a shift where the Western Europe and North American superiority was being challenged artistically as art was the approach being utilized in addressing social justice issues thus allowing politics to get into more subjective matters. For instance Joaquín Torres-García map Inverted America depicts the authority held by art in constructing real worlds (Shiner, 2001). Through the use of constructive universalism Torres constructed in his map a manifesto which is an inaugural gesture creating fresh parameters which can be accounted as spatial. This is an art piece that tells differing narratives holding the phrase that the North is the American south. The North was more developed and stable as compared to the South which was occupied by Latin America and this offered a challenge in reference to dominance.

On the other hand the map ‘’Le Surrealisme en 1929’’ additionally demonstrated globalization phenomenon where cultures are not distant and places and individuals have been connected (Fichner-Rathus, 2012). The map was a demonstration of how in general the phenomenon was creating a small world that was worth the embrace than challenging Europe which had acquired increased colonization globally. Jacob Lawrence work is a representation of collectivism which emphasis on human content as the only paramount thing. Henry Ossawa was a realistic artistic who focused on the African American artistic genre and differing from the previous notion he represented them as individuals rather than distortions. This created a notion of respect in the period where racial prejudice against the blacks in America was a common norm (Shiner, 2001). These arts contradicted the world’s fair which since it starting served as the global presentation of specific achievements of different state. This was an example of political symbolism while objective reality was being understated and ignored. The notion was changed by these contemporary art by creating symbolic solutions.

References

Shiner, L. E. (2001). The invention of art: A cultural history. Chicago: Univ. of Chicago Press.

Fichner-Rathus, L. (2012). Understanding Art. Cengage Learning.

Expressionism and Fauvism

Differentiating expressionism and fauvism art movements can be done on the basis that both places their foundation rests on color value in relation to painting. In Fauvism colors are used for expressing joy and it was a short-term movement where painters were offered the freedom to expressly use their color in presenting their work and brought about a new way of viewing art. The painting style incorporated the use of non-natural coloring.  The Fauve movement was driven by the desire to have an art with impressionism directness while using intense color juxtapositions (Kleiner, 2010). The movement also involved liberating color from the descriptive function and looking at the impact of different colors on emotions. The Fauves had the desire for using color in arbitrary manner for the purpose expressing their message powerfully.  By following such thinking, they used color in showcasing in a carefree and rough manner. The Fauve group had a common that color can play a basic role in communicating meaning and thereby efforts were focused in development of this concept (Kleiner, 2010).

On the other hand, the Expressionism movement was founded on the interest to heighten the art’s emotional landscape by emphasizing subjective feelings rather than showcasing objective reality. While Fauvism emphasized color, the expressionism was created along somber and darker path which reflected the prevailing societal influence (Kleiner, 2010). The emotional power of this movement was used in exploration of various personal and political issues. Unlike Fauvism that retained design and harmony, expressionists moved away from such joy and restraint but rather used images of modern creations such as city to showcase an alienating and hostile world. There was large use distorted figures and dark colors (Kleiner, 2010).

References

Kleiner, F. S. (2010). Gardner's art through the ages: A concise Western history

Art History

Surrealist and Dada were related in the sense that both of them dealt with the presentation of art work. Dada, was mainly focused on using humor and antagonism in question the definition of a piece of art. On the other hand, Surrealist was a type of three dimensional art work, which comprised modified, found and sculptured objects (Josh, 2015). Dada and Surrealist were therefore related in the sense that they dealt with art, and consequently used art, in order to show and explain to the society, what the society did not think of such a piece of artwork. In other words they movements used art as a means of changing the perceptive of the people concerning art work.

            Surrealist left Dada, after it realized that the works presented by Dada were symbolic, and they consequently symbolized the way people suffered in the society. Surrealism therefore used Man Ray’s piece of work in order to explain the symbolism being displayed by Dada, since Man Ray was associated with the Dada group. The Man Ray’s The Gift, was an ordinary flat iron, which had brass nails at the bottom. According the Surrealists, the flat iron was linked to social outlooks of priority and middle-class values (Josh, 2015). This was consequently an attack on the social expectations. Even though Man Ray’s flat iron may not be used to press clothes, the iron represented some sort of humiliation. The Surrealists, as opposed to Dada, decided to correct the works of Dada group, a move which made the two groups to fall out with each other. Dada group, did not in any way focus on oppression, through its artwork, but it was using such types of art work in order to create humor.

Reference

Josh R. S. (2015). Man Ray, The Gift. Retrieved from: https://smarthistory.org/man-ray-the-gift/

Prompt

Introduction

“Is this the world you want?” is a museum exhibition produced by Kaylee Bateman.  It is a new exhibition at the V & A graphic representation of the revolutionary spirit that happened in the mid and late 1960s, which pervaded our social, political and imaginary cultures. Kaylee Bateman is a special computer editor who talks about diversity. She is gratified to talk about the revolution diversity in the portrait she worked on.  The artist has approached the suffering of the people in the ancient world and tries to discuss what revolution can help them adjust the society they live.  It is an exhibition based on revolution and opens its viewer’s eyes on national peace and love.  Instead, it tries to explain the traditional oppression events (Oppenheimer, 3). 

Body

            In the 1960s, cultural rebellion was still ongoing in the western domain and mate almost to impact in our inhabited area. Later in 1970, there was the spirit of revolution that the citizens felt due to the existing disaster. This exhibition brought the spirit of the freedom idea where the viewers relate it to the repression that people in the crisis based countries face.  As many fair-minded people into the V&A to see Is this the world you want. On its opening day, there were many reasons, but affectionate memory was definitely one of them (Oppenheimer, 4). I wanted to have a look at what the other artists and viewers would claim in the liberalizing moment, which was a standpoint that gave social significance that we currently take in vain.  In 1965 in Britain, homosexuality and abortion were illegal and the family planning pills were to the married women.  It was hard to have a divorce; there was a death punishment of anyone guilty of assassination and racial discrimination was not extensive and the theatre would suppress (Oppenheimer, 5)

            The V&A has raised many exhibitions showing the space coved by revolution such as the Cold war and Postmodernism where the exhibition of, ‘is this the world you want’ had the similar academic depth and power (Oppenheimer, 6). The exhibition is a production with popular culture and attracting large audiences to the museum.  The exhibition shows an era full of graphic revolution in which the probability and excitement of the structural and emotional changes emits from every printed space on the graphic (Oppenheimer, 7). 

            These graphic portraits base on the political and social promotions, feminism and gay liberation and the freedom of the blacks.  It shows how these features are still developing approaches gains grip. The exhibition’s immersive propensity is at its most incisive cover that is mainly devoted to the Vietnam War.  These portraits collected does not only demonstrate about genocide effects with the lingering images of dead people and burnt villages, children suffering and child soldiers with empty gaze, but also the agrarian account of women, men and children with fear of their lives in each day. The portraits central cover shows that these victims are not figures but people (Oppenheimer, 17).

            The exhibit does not intend to show self-reflection but the pictures anticipate on the walls giving the viewers an avoidable monumentality.  If one is a young mother for instance in Darfur and has children, trying to safeguard them and your life, but most importantly, you are trying to protect the life of your family, you become inundated every time. At the start of World War II, the Nazi’s applied genocide on an extraordinary range based on the racist ideology that described Jews as freeloading parasites (Oppenheimer, 112). All of the Jews in Europe were scheduled for destruction, the sick and the rich and the religiously to be converted to Christianity.  Many Jewish children survived the scandal though many hide.  With personality veiled and physically covered from the outer world, these children faced anxiety, predicaments and dangers (Oppenheimer, 145).   

            The exhibition of the portrait reviews the Nazis’ rise and consolidation of supremacy in Germany.  Using the symbols, the portrait discovers their principles, misinformation and the prosecution of Jews and their children.  It also shows the way in which the Nazi’s and their associates led to a nation to war and to the assassination of millions of people. By giving an overview of the Holocaust and those engaged, this exhibition aims to incite the indication and discussion about the role of the basic people, organizations and states between 1918 and 1945 (Braham, 39).

 Nazi genocide

            As the portrait describes, the social problems that the people faced was due to the quick industrialization and the development of cities. Status and manners were adjusting while the crime was on the increase side and sexuality in fluctuation. The Nazi has discriminated the Jews in ghetto, which developed in the most desolate areas in cities.  These policies based on revolution helped the Nazis when they started their genocide and settling to the killing centers.  The main objective to the Jews was on killing them but the death rate of children was commonly high (Braham, 56).

Conclusion 

            Based on revolution theory, the exhibition defined the significance and impact of rebellion in the late 1960’s.  It shows the significant way to forecast the future is to discover it.  Technology also shows the dark and threatening side of revolution.  Therefore, the exhibition portrait claims the need of recapturing the power of the 1960s based on revolution and provides quality tools for thought.               

Reference

Oppenheimer, Margaret A. The French Portrait: From Revolution to Restoration : September 30-December 11, 2005, Smith College Museum of Art. Northampton, Mass: Smith College Museum of Art, 2005. Print.

Braham, Randolph L. The Politics of Genocide: The Holocaust in Hungary. Detroit, Mich: Wayne State Univ. Press, 2000. Print.

Modeling for art

Modeling for art appears in various ways and, up to date there are still more rooms for everyone. The form of art entail on focus, determination as well as willingness since the subject is required to pose as required. Modeling for art gives the real image of the subject thereby; the artist must be careful not to offend as well as be comprehensive while modeling depositions. Back in the 18^th century a great artist Thomas Eakins, painted a Masked Nude Woman, Seated and his work was highly appreciated globally. The model was considered as essential because it facilitated the development of character and community (Reason & Eakins, 2010).

Thomas Eakins focused mainly on the background in his artwork, because it interprets all the required details of the subject. The artist used charcoal and crayon with stumping on paper to give it reality thereby; from the medium one is able to understand when the painting was done. Eakins did well on the dimensions by ensuring that, his print and drawing fitted in a sheet of about (61.6 by 48.4cm) (Reason & Eakins, 2010).With a clear view of the image the woman face is masked to hide the identity. This shows that nudity bring shame to the model thus; modeling task is never easy and requires much courage (Reason & Eakins, 2010)

Modeling process is carried out tastefully and, the artists consider it as something naturally scratchy to the model.  The progression of the art is only done on the confident subject, especially one that is able to stand at rest in front of a crowd where his or her form is painted. Thomas’ drawing on the nude woman shows much confidence the model had despite his eyes covered. Posing is one thing the artist considers to create a genuine appearance (Reason & Eakins, 2010). Nude painting has become the most selling in the modeling field thereby; highly considered. The model is required to be trained on the posing since it is also part of the typical process. Posing involves standing where the model is required to expose everything in front thus; referred to us the front view. Others are reclining, prone and sting which Eakins considered (Phillips, 2010).

Art modeling does not only major on the excellent way to get comfortable, but there is also a price earned as models aim on their career goals. The best thing in modeling is that despite the fact that all body ages the field has a room for everyone. The society is highly considered in the modeling field where the model requires no documents for the job thus, through her work she is expected in giving back to the society. Every artist work belongs to the society because his genius requires the society for background and support (Phillips, 2010).

Art work is never complete without implication of software tools; in modeling camera is the most considered. It is important because it gives the reality of the subject. Capturing the image gives a clear message of the model as well as the aim of the artist. The importance of software tools in art is aiding the artist in painting the human image in their dissimilar age, shapes and civilization (Phillips, 2010).

Modeling for art is for every individual thereby; there is no limitation on who the artist decides as a model. Art models have changed over time where the sense as well as the significance, of human form in art and culture has distorted. Nude modeling has become the model at all times thus, subjected to social approval (Phillips, 2010).

References

Phillips, S. R. (2010). Modeling life: Art models speak about nudity, sexuality, and the creative process. Albany: State University of New York Press.

Reason, A., & Eakins, T. (2010). Thomas Eakins and the uses of history. Philadelphia: University of Pennsylvania Press.

Photography

            Photography has affected the society through the permitting of people to see others whom they would not have seen without photography. The introduction of photography has changed the present day celebrity concept and also the voting system of citizens. Photographs are responsible for changing the perceptions of people. Photography captures scenes of pain as well as suffering that is imposed on people during wars and this may result to more people seeking revenge for their fellow citizens. The effects of photography onto the society has raised concerns amongst people as some of these explicit images captured causes discomfort as they change the structure of the society (McLuhan 1970). However, photography has also caused positive effects onto the society and they have positively impacted our lives.

            We are becoming more individual. Photography is encouraging individuality since it is the photographer who has the power and the responsibility to decide on the objects that they want to take a photo of, at what angle, the techniques t use and what to include and exclude from the photo.  They are thus concerned with evading any form of hindrance so as to communicate their message through these photographs without considering the effects these photographs has on us (McLuhan 1970).

            Digital image is becoming a tribal society that uses the phonetic language where there are no truths or facts but is highly uses feelings to prove its message. As they travel they transform the society in accordance to the tribe’s needs. Digital imaging has transformed how people understand photography and photographers.  The nature of digital imaging allows for image manipulation so as to meet the needs of the tribe and this has changed the environment as it relays the message using these digital images.

References

McLuhan M. (1970). Living In An Acoustic World. South Florida.

Photo analysis

            This photograph invites a number of interpretations. A lady is seen looking at the far end of the horizon. The girl wears a flowery dress and she is focused on looking the opposing side away from the hands that are pulling her behind. There is another person on the same floor as evidenced by the hand holding the lady. The lady is standing on a highly elevated place as there are other houses that seen below her point of view. Part of her dress is flown away by the calm wind experienced at the evening. A use of the black and white contrast is used to show this part of the dress that is flown away. The setting of this photograph is real as it is surrounded by physical features.

            The photograph has the desire to capture the moment as evidenced from the cloudy skies and the sun at the horizon. The sun is setting and it is such a stunning moment that needs to be captured. It is thus clear that it at the evening from the incidence of the setting of the sun. The photograph uses geometric shapes with strong angles of triangles, squares and circles. Three dimension shapes are highly applied in this photograph. There is enough spacing between one object to the other objects that around and this increases the amount of space thus allowing the viewer to be able to view the photograph and make a good analysis. This photograph enhances unity as a larger part of the photograph has a contrasting patterns and shapes and colors that create a balance and unity within this photograph. The proportion of the sizes of the objects represents reality as the lady’s figure and the hand of the other person are similar to that of the natural world.

            The photograph indicates the changes in modernity and thus prompts the cultural desire for a photography-like technology. Thus the photograph presents a culture of spectacle due to the well built houses and the development that is presented by these modern designs of houses captured in the photograph. Thus the photograph can be traced to be in the era of the early photography.

            This photograph is a positive one that has been developed and is invisible to the eyes with pleasing and influences an aesthetic effect. The exposure in the camera is thus visible with a registration of both light and dark surfaces. Multiple images are captured in this photograph and this stimulates many imaginations of the occurrences captured in this photograph. The eyes are directed through the photograph by the contrasting shapes and wide range of colors and gray areas and in the patterns used in the photograph. The eyes therefore are more focused on the plant life and the natural sun at the top of the half of the photograph. The contrast in this photograph integrates the utilization of a range of colors that is the natural and the light in photography and it thus allows the film to capture a highly contrast image with a detailed information of the photograph.

Definition & Identification

Art is considered in its highest vocation and has remained a thing of the past for many people. This means that it has lost its genuine truth and life which means that it has been transformed into our ideas losing its necessity in reality and losing its high place. Hegel end of art thesis is a structural feature of his philosophy of art rather than a consideration of art during his time (Davies, 2010). The thesis addresses how other philosophers have said in regards to art. Hegel considers that there is art and the end of the art and it can be used as a form of play, recreation, decorating, pleasant external uses of life, artistic adornment, and entertainment. Due to the number of roles played by art Hegel considers it as an objective spirit of the society. According to Hegel, the universe needs art as it is a rational need for a man which lifts both the inner and external spiritual world that recognizes against its self. This is considered to be the highest vacation which has an application in the end of art thesis (Davies, 2010).

Arthur Danto validates art separately within the globe of influence and the historical influences. The art world comprises of and is developed by individuals who take part in the art process either by selling, buying, trading or either making a critique of art (Davies, 2010). The global social influence is brought about by their opinion either implicit or explicit as well as the great people who invest in it. Danto has parallel artwork to that of primary sources. According to Danto, the Rosetta Stone was a hieroglyphics artwork that may be interpreted not only to be an artwork but also a concept of prevailing artwork that can look into the emotion of era. Danto has a unique notion of secular movement and unfolding events that happen to art rather than considering the highest transcendental source of great inspirational art (Davies, 2010).

The Hegelian dialectic is important as it forms a framework that guides the thoughts and actions in conflicts leading to a predetermined solution. It helps in the implementation of a vision. It is also an important tool that manipulates a circular pattern of a fight and defends ideology in playing a significant role in Engels and Marx design of humanity (Davies, 2010). The Hegelian solution credits that the conflicts cannot be introduced unless individuals take sides which will advance the agenda.

Brillo Box by Andy Warhol was considered an artwork when all other identical Brillo pad boxes were considered not to be. According to Danto the Brillo box in the supermarket, storeroom had a certain theory of artwork. When Danto took up Hegel thesis of ‘the end of the art’ in 1838 he argued that art does not imitate itself longer the same as for the other piles of Brillo boxes. In order to come up with a conclusion that the Brillo Box was an artwork, Danto took the method of indiscernible which was a tool of unlocking the problem in art (Davies, 2010). In contrast, he considered the difference between the raising of a hand and an arm rising which has nothing visible which cannot be spoken in scientific terms.

According to Danto philosophy of art is an inquiry that distinguishes art objects from other objects around the world. According to Danto aesthetics is a matter of delectation which things appear to the sense with a superiority argument over the other (Rollins, 2012). The identification of the artwork by Danto is the aesthetics of visual art. This is followed by a concept of creativity. The imitation theory and the reality theory by Danto explain how art can be defined. 

The imitation theory is based on the idea that art is imitated on reality. Due to the insufficient mimetic of the imitation theory of the post-impressionist of painting the reality theory explains how the new works are art. An example of the reality theory is the Roy Lichtenstein’s huge paintings that were of comic book panel where not imitated but were new. The reality theory tends to explain the art behind something that is distinguishable and original. This means that the artist in question was able to understand the imitation theory. Danto Artworld is defined by the cultural context of the artistic theory that the imitation of real objects is art but not the objects themselves. This creates the ability to distinguish art from which it is and which should not be considered as art.

Hegel aesthetic definition of art rather than fine art is beautiful. This comes with the scientific sensation of the feeling that excludes the beauty of nature such as rivers, animals, flowers, and beautiful people. The beauty of art is a spirit (Rollins, 2012). Art can be identified through the realms of nature that cannot be examined and classified under the view of beauty. However, there is an objection of how fine art is treated scientifically. The imitation theory according to Hegel identifies art as an imitation of nature.

Jean-Franscois Lyotard critic of art history is based on the influence of influential postmodernism. The modernity was achieved through science and technology that reshaped human perceptions. The scientific model was considered by Hegel in which Lyotard considered to have many proponents that posed a challenge of a clear distinction between natural and artificial. Lyotard argues that most of the modern people cannot relate to the objects of art due to lack of experience (Jones, 2014).

Sol LeWitt view of visual art consists of basic colors, lines and simple shapes. Different from Hegel scientific view he developed his own mathematical equations and architectural specification to be neither predictable or be logic. According to LeWitt the process of producing an artwork becomes the work itself and the work was not required to have the actual materials necessary for the art (Meltzer, 2013). LeWitt acknowledges that the artwork can exist on its own as the conceptual pieces are the least of the basic forms. In order to simplify art, LeWitt employs a traditional material such as wood, paint, and canvas by focusing less on concepts and systems. LeWitt has appreciated the character of conceptual art.

In conclusion, Danto and Hegel have clearly explained the end of the art. It is true to say Danto has a strong argument for the imitation and the reality theory and why the Brillo Box was a unique from the other pile of boxes. Hegel argument of the internal and external spirit gives the thesis of the end of the art a strong base of the scientific identification of art. However, the critics have identified why art is unable to relate to the modern person. Therefore Danto and Hegel definition and identification of art is significant.

Reference

Davies, S. (2010). Philosophical perspectives on art. Oxford: Oxford University Press

Jones, G. (2014). Lyotard reframed: Interpreting key thinkers for the arts. London: I.B. Tauris.

Meltzer, E. (2013). Systems we have loved: Conceptual art, affect, and the antihumanist turn.

Rollins, M. (2012). Danto and his critics. Chichester, West Sussex, UK: Wiley-Blackwell.

Friedrich Nietzsche’s aesthetics

Introduction

Nietzsche’s work was heavily influenced by his early and ongoing interests in Greeks art. His aesthetic use of Apollonian and Dionysian concepts enabled him to fuse the two and form dramatic arts or tragedies. The two concepts forms a central theme for Nietzsche’s work , where they are presented as two forces of nature that are opposing each other, and which he used primarily to analyze the general Greek Culture and more specifically the Greek art. Apollonian is derived from the Apollo concept - Greek god of light – said to rule over the self-consciousness realm and is thus associated with individuation through which he provides a sensible structure to the world. Dionysus is the god thing such as festival, which is centered on sexual licentiousness unleashing the most natural instincts.  He alludes to this concept by indicating how his instinct turned against morality, inventing a doctrine that is fundamentally opposed and a purely artistic counter-evaluation of his life. He named this concept Dionysiac. 

Main body

The continuous development of art is informed by the link between the Apolline and Dionysiac in a similar manner the reproduction depends on the presence of two sexes that are perpetually conflicting and a reconciliation period is the only interruption.  The two terms have been borrowed from Greeks who show deep mysteries of their perception of art through clear figures of their deities. Apollo and Dioynsos helps in the recognition that in the Greek’s world, there is a massive opposition between the Apolo image making art and Dionysos music art which is imageless(Geuss &Speirs 14). The two forces are in close existence and are in constant open conflict provoking each other to reproduce an offspring to perpetuate the conflict. This indicates the relationship between A & D in which the work of art is engendered in a pairing of Appoline and Dionysiac.   These two are shown as either different art-worlds of intoxication and dream (Geuss &Speirs 14). All human beings are artist when dreaming which is likened to image-making and in such dreams they take pleasure. Given that Apollo was viewed as the god of energies involved in image-making he is presented as governing the semblance produced in the one’s fantasies. An opposition can be dream and intoxication which resembles the opposition between Apolline and Dioynsiac.

The Apollo as the god of beauty is indicated in the references to him as the luminous one, linked with light and the lovely semblance shown in the inner fantasy world. The ability to prophesy is symbolically shown in the perfection of dream-states and a consciousness of the power to help and heal which can be found in a dream and sleep (Geuss &Speirs 16). The Olympian gods help the profound understanding of Apolline culture through the magnificent features figures of the gods whose actions are shown in reliefs gleaming from a distance (Geuss &Speirs 22). The sense of beauty in Apollo would be shown if he is amongst these gods. A similar drive in which took over the Apollo’s form brought forth the whole Olympian world. Among the Olympian gods, there is no sign of moral loftiness, holiness, compassion or ghostly spirituality and anyone who comes looking for them there will go back disappointed (Geuss &Speirs 17).

The Dionysiac concept is the opposite of A and the blissful ecstasy arising from the nature, presented by the innermost man is seen in the confusion and loss of faith in the phenomenal world. This is the true sense of Dionysiac concept where confusion is represented by intoxication. On other hand, the artistic nature is manifested in the reconciliation with humankind in the Dionysiac concepts. Man is shown as the noblest clay (Geuss &Speirs 18) and who is freed from everything that held them captive such as impudent fashion, which brings about hostile barriers as a result of approaching the Dionysiac. The Apolline and Dionysiac are thus artistic powers arising from nature without the assistance of a human artist and its perfection is not related to the artistic formation or intellectual level of an individual(Geuss &Speirs 19). The Dionysiac barbarians engaged in all kind of licentious and sensual activities that involved the sexual indiscipline during the Dionysiac festivals and also cruelty so that human regressed to the condition of wild animals (Geuss &Speirs 20). The Dionysiac Greeks, on the other hand engaged in seemed to have been shielded from the orgies by the figure of Apollo (Geuss &Speirs 20) and their festivals comprised of celebration for redemption or transfiguration days (Geuss &Speirs 20). The Dionysiac music induced horror and terror since the expressive gestures and singing from enthusiasts was strange to Homeric-Greek. The music familiar to them was a wave-like rhythm but as a form of Apolline art.  The music had sound power capable of shaking us to our very foundation (21), extremely harmonious and melodious.  

2. Wisdom of Silenus

The wisdom of Silenus was that humans as children of chance would be at their best if they were not born and second best thing for them is to die soon (Geuss &Speirs 23). This artistic view of this wisdom is its relation to the vision of a tormented martyr. It shows the vanity of a universe where the human are born to undergo torments and struggle and the only rest is dying and thus escape the struggle.

Friedrich Nietzsche - On Truth and Lies in a Non-moral Sense

Nietzsche critical idea is that truth is objective and if one should think that there exist only one way of considering an issue , it is proof of inflexibility in thinking. He believes even if there is truth, there is no one right way of perceiving it (4). On the issue of intellect, the human brain can form concepts for anything it encounters. In addition, he argues that humans group everything so as to attain some form of organization so that it can look logical in the society. The result is a set of acceptable truth. While some have contrary view to that of Nietzsche, I think the grouping is necessary for the creation of order in the society.