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Kim Williams, 2007.
Critiques an exhibition given by American-Vietnamese artist, Kim Williams.
1,518 words (approx. 6.1 pages), 3 sources, APA, $ 50.95
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Abstract
In her essay, "Why Have There Not Been Any Great Vietnam Artists?" Nora Taylor, a Vietnam art historian, questions how it could be possible that Vietnamese artists have never received their due for their outstanding works. Thanks to globalization, this unfortunate trend is at an end as other artists, collectors and art lovers recognize and enjoy the creative and historic value of this Asian artwork. This paper comments on an exhibit which showed the art work of Vietnamese-American Kim Williams. The paper notes that it was an enriching global blend of the best of both Eastern and Western traditions.
From the Paper
"Such warm renditions, however, are juxtaposed against the harsher reds, blacks, and whites of the war pictures of the fires, bodies, injured, destroyed villages and lands. The American and Vietnamese soldiers and the Vietcong, the shells, Agent Orange and gunfire, the same mothers, grandmothers and children dying or dead. It is hard to believe that the same artist who painted the mother and daughter playing a game could have this inside her as well."
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Glass as an Art Form, 2007.
This paper discusses whether glass work can truly be considered as a fine art or if it is relegated to being just a craft.
6,728 words (approx. 26.9 pages), 30 sources, APA, $ 153.95
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Abstract
In this article the writer notes that for many years, glass work has been considered a beautiful craft form, mostly used in pieces as decor or an element of design. The writer discusses why has it been that for so many years, glass has been singled out in this way, even to its exclusion over such sculptural and less beautiful materials such as bronze and stone. The writer discusses the relegation of glass to the field of decoration, craft and design rather than that of fine art. In addition, the writer explores the elements which are necessary for sculptural works to be considered fine art. The writer examines what the recent explosion of interest in glass work has done to improve the image of glass as an art form. Ultimately, The writer looks at who defines the difference between art and craft - whether this is the artist, the critic or the viewer.
Introduction
Background - Definition of Art
Discussion
References
From the Paper
"Such a weighty question probably lies beyond the boundaries of a paper such as this, so for the answers to this question we shall look to the ages and describe on how art has been defined in the past. Robert Collingwood, in his seminal work The Principles of Art made what is probably still considered to be the clearest definition of art. To Collingwood, art was the expression of emotions, and lives in the realm of emotion. Collingwood believed that the expression of emotion via art was a process which moves slowly from the hidden and vague to that which is explicit and clear. To Collingwood, art was the process of exploring emotions, which live within the subconscious of the artist and are not known to the artist beforehand. Collingwood was able to discern art from craft in that he believed that in crafts, the works man, the salesman knew before even the initiation of the project what emotion is being evoked, and that craft is then more calculating and deliberate in it's manner of arousing an emotional response. Ayn Rand also expressed theory surrounding art in several of her essays."
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Photographic Digitization, 2006.
This paper discusses the digitization of photography and its impact on the photography institutions in the arts.
1,094 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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Abstract
The topic of this study is the digitization of photography and its impact on arts institution administration. The writer discusses that there are several avenues to be explored when assessing the impact of digitization, from the purely technical to the purely artistic. Within the exploration of these areas of interest, the writer maintains that an assessment may be constructed regarding what changes, for good or ill, might be caused by an increasingly expanding digital photography universe and not least because of the sudden and almost total accessibility of virtually everyone to digital photography equipment. The writer claims that this will undoubtedly change the photography world; whether it will cause a greater or lesser interest in the work of photographic artists has yet to be seen. The writer concludes that in either case, however, the process is likely to cause significant change in art administration.
Table of Contents:
Statement of the Topic
Objectives of Research
Design and Methodology
Sampling
Timeline
Justification
From the Paper
"Because photographic digitization depends on developments in information technology, an assessment of Moore's Law on the changes in photography and resulting changes in arts administration is required. Moore's Law, developed by Gordon Moore a generation ago, when computing was in its relative infancy, proposes that "the performance for a given price of microprocessors doubles every 18 months...." At the time, Herman said that process continued unabated; it is conceivable that the doubling of capacity is even quicker by now.
In any case, because of this, planning for 'cutting edge' shows would become more and more demanding; in fact, it will become more and more incumbent upon arts administrators to keep breast of changes in digital photography, and perhaps even to anticipate them. This changes the administration role from a relatively passive to quite an active role."
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Irish Art from 1800 - 1850, 2006.
A look at the influences on Irish art and how it changed between the years 1800 and 1850.
1,907 words (approx. 7.6 pages), 8 sources, MLA, $ 60.95
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Abstract
This paper describes the social, political and economic conditions in Ireland, between 1800 and 1850, that influenced Irish art of that era. The paper explains that Irish art at that time was significantly influenced by Ireland's push for independence and the great potato famine and that these two events helped move Irish art away from an emphasis on classical motifs and towards an emphasis Celtic motifs.
From the Paper
"Maria Edgeworth, a novelist, also could be assumed to have had a hand in altering the pictorial content of Irish art from the neoclassical, if somewhat infused with Celtic motifs, to the shamelessly Romantic. Edgeworth, born in 1798, was born in England but came as a very young child to Ireland. She died in 1848; her working period, therefore, coincided perfectly with the change from the Ascendancy and classicism to a more Romantic view of the world. "Her novels Castle Rackrent and Ennui (1809) feature plots in which peasants reclaim Irish land." In the paintings favored by the Ascendancy, the subject matter was more likely to be the Ascendancy, or its horses, dogs and fine houses, all done in a neoclassical style with the addition of some Celtic symbolism, particularly as it was the Ascendancy that had worked to popularize four motifs; the shamrock, the Irish wolfhound, the harp, and Brian Boru's Tara brooch."
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'For the Love Of It: Amateuring and Its Rivals', 2006.
A look at the concept of amateurism, as explored at length by Wayne C. Booth in his book 'For the Love Of It: Amateuring and Its Rivals'.
2,400 words (approx. 9.6 pages), 4 sources, APA, $ 73.95
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Abstract
This paper reviews the book 'For the Love Of It: Amateuring and Its Rivals' by Wayne C. Booth. According to this paper, Booth explores the concept of amateurism, the amateur that pursues the given task or discipline for the love of doing so and not for pecuniary rewards. This paper discusses how the amateur pursues any discipline or skill for its own sake.
From the Paper
"Booth discusses the issue beginning with reference to music and how the disappearance of amateurism in the traditional sense has altered the kind of music that is even written. He cites Daniel Barenboim to the effect that chamber music has been disappearing in part because it was "linked to playing music in private homes -- not only by amateurs, but by professionals, too. Now people have less time, and a great interest in passive musical appreciation and listening" (Booth, 1999, p. 15). Booth discusses the issue in terms of his own experience, noting how he started playing the cello when he was 31 years old and then experiencing decades of disappointment and frustration as well as hours of happiness while playing. Being an amateur himself, he sought to know more about the idea of and practice of amateurism and traces the concept through different manifestations and different types of activity, finding in particular that the idea has long held sway in music and in sport more than in other disciplines."
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From Slave to Soldier, 2006.
This paper analyzes the image of African-Americans in the literature and art of the Civil War.
1,811 words (approx. 7.2 pages), 16 sources, MLA, $ 58.95
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Abstract
The paper describes literature and visual imagery by, for and about blacks. This includes slaves, freed men and soldiers alike, as well as some of the white individuals most significant to them during the Civil War years. The paper discusses how the Civil War period was for most African-Americans a time of unprecedented change. The paper continues by portraying how literature and images during this period largely reflect the frightening uncertainty of this period and its many changes. The paper concludes that African-American history of this period, as reflected through Civil War literature, art and other recorded impressions, leaves an indelible stamp on the American psyche.
From the Paper
"A key African American Abolitionist leader of the Civil War era and beyond, Frederick Douglass, a former slave and leading journalist of the time, helped to recruit free Northern blacks for the 54th Volunteer Infantry. Douglass also sent two of his own sons, Charles and Lewis, to fight in Colonel Gould's all-black regiment ("The Civil War"). Frederick Douglass believed that this would prove that black men could fight as well as white ones, as indeed it did (Frederick Douglass: When the Lion Wrote History)."
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"Slavery in New York", 2006.
A discussion on the art exhibition "Slavery in New York" and the lessons it teaches about the history of the area.
857 words (approx. 3.4 pages), 3 sources, MLA, $ 30.95
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Abstract
This paper discusses an art exhibit by the New York Historical Society, titled "Slavery in New York". The paper describes how the exhibit unearths much of the history of the slave trade in New York and shows the way the city participated in and profited form the slave trade long before that trade become so entrenched in the American South.
From the Paper
"The primary lesson of the exhibit is in fact that slavery was a phenomenon that existed outside of the South and that cosmopolitan and even liberal New York was once part of that trade. Such a lesson also extends the idea of slavery to a wider part of the nation, showing how the guilt over slavery is not released only to the South but takes in the whole country in one way or another. This effort also shows how much the nation owes to the African-Americans it once enslaved and has never fully repaid for what was done to their ancestors."
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Aperture Foundation Organizational Analysis, 2006.
This paper offers an organizational analysis of the Aperture Foundation.
1,212 words (approx. 4.8 pages), 2 sources, MLA, $ 41.95
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Abstract
In this article, the writer discusses the Aperture Foundation, that was founded as a not-for-profit arts institution in 1952 by six people who had a vision of photography as a mainstream medium. The writer notes that although the Aperture Foundation has gained high praise for its independence and integrity in publishing the most innovative work in photography, it has required significant and generous support. The writer contends that the current challenge is to continue to promote photography and mount exhibitions while paying the expenses. In addition, there are pressures on the medium that have grown over the past decade because of advances in high-tech fields, from cameras to reproduction to the ubiquitousness of images and the difficulty of securing artists' rights. The writer makes suggestions and recommendations for changes and transitions in the Foundation's organization.
From the Paper
"The organization's structural integrity was challenged during the past five years by the deaths in quick succession of two of its Executive Directors, Michael E. Hoffman in 2001 (after he had been at the helm for 36 years) and Director Designate Paul Gottlieb in 2002. However, Ellen S. Harris has run the organization for more than a year and a half with a seasoned staff and a Board of Trustees. During that time, she has completed the exclusive agreement with DAP, and has moved the organization into new headquarters at the heart of the New York arts scene.
In addition, the Web site has been redesigned, and a licensing division was launched early in 2004 to develop revenues to support both the foundation and the artist-participants. In 2005, the organization planned to sell limited edition, affordable prints emphasizing contemporary photographer's work."
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Art Comparisons, 2006.
A look at war and battle as depicted through art.
2,183 words (approx. 8.7 pages), 10 sources, MLA, $ 68.95
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Abstract
This paper reviews various works of art through the ages, all depicting various scenes of war and battle. It takes a look at the work of various artists such as Eugene Delacroix, Pablo Picasso, Salvador Dali, Edouard Manet, Paul Cezanne, Jackson Pollack and Henri Matisse and compares their scenes of war and battle.
From the Paper
"The major similarity between the two works is the depicted violence. In Sardanapalus a Negro stabs a white horse and a bearded and richly dressed man plunges a dagger into the throat of a woman. The foreground is brighly illuminated and, indicative of the Romantic period, the figures are expressive and sensual with a mixture of the erotic and violent. The painting is believed to be based on Lord Byron's 1821 play Sardanapalus, which ends with death and destruction (Spector 19).
The painting has life-size figures in the foreground and in the rear, including the king, much smaller. The complex composition and spacing between the figures is unique--with figures on the lower right and upper left, and only the red of the bed spread in the middle. Colors of gold and red as well as actual pearls are used to unify the different parts of the painting. Women, slaves, animals, jewels, and fabrics are combined in a swirling, circular composition. The painting was used to evoke emotion--even Delacroix was disturbed by what he had painted. The Sandanapalus tilts diagonally back from the foreground, with earlier Romantic battle paintings, such as Gros' Battle of the Eylau in 1807, Delacroix's own Dante and Virgil in 1822 and Massacre of Chios in 1821, the main figures occupying the foreground (Spector 23). "
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Baroque Art, 2006.
This paper compares two painters who used the Baroque style of art.
1,086 words (approx. 4.3 pages), 4 sources, APA, $ 37.95
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Abstract
The paper discusses how the Baroque style dominated art and architecture throughout Europe in the 1600s. The paper defines this style as having a dramatic use of light. The paper compares the works of Caravaggio and Rubens and concludes that while both painters have succeeded--in the Baroque style--at depicting a portion of the passion of Christ, they have differences. Caravaggio is more firmly planted in the style of his time, evoking strong emotion with relatively simple, if dramatic, depictions whilst Rubens decorates the scene more than transporting the viewer into the emotion of the event depicted.
Contents:
Introduction
Caravaggio and Rubens
Conclusion
From the Paper
"The Baroque style dominated art and architecture throughout Europe in the 1600s, lasting in some places until about 1750 (Encarta, database online). The origin of the word is not certain. Some believe it was derived from the Portuguese word barocco or the Spanish word barueco, a word that referred to an irregularly shaped pearl (Encarta database online.) It should be remembered that pearls, baroque or otherwise, were only brought to Europe during the age of exploration, which slightly preceded what came to be called the baroque period of art. Baroque--or irregularly shaped--pearls would have been looked upon as doubly exotic and very dramatic, so it is not difficult to imagine the term being applied to art that was increasingly dramatic, even if the subject matter was not; the baroque painters had an affinity for Biblical subjects."
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John Heartfield, 2006.
A bibliography of John Heartfield, a German Dada artist.
1,457 words (approx. 5.8 pages), 5 sources, MLA, $ 48.95
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Abstract
The paper examines the life of Helmut Herzfeld, who changed his name to John Heartfield as a pro-British statement during the Nazi period. The paper analyzes his works, including his technique of photo-montage. The paper further describes how he was pursued by the Nazis and escaped to Prague and later to London. The paper further describes his winning of the German peace prize.
From the Paper
"Born to a writer, Franz Heartfield, John lost his parents in 1898. His mother was a trade union activist and a textile worker. In 1896, the Heartfields were forced to run away from Germany and hence went to Switzerland. John was enrolled in a school but he soon left it at the age of fourteen and ended up working for a bookseller in Weisbadenl. During 1907, John Heartfield became an assistant to the famous painter Wieland Herzfelde. About a couple of years later after becoming interested in arts, John Heartfield enrolled into the Munich College of Arts and Crafts. In 1912 John Heartfield started working as a commercial artist in Mannheim till 1913 when he moved to Berlin where his teacher was Ernst Neuman at the Arts and Crafts school in Charlottenburg."
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Buddhist Art, 2006.
An analysis of the influence of Buddhist art on Chinese culture.
1,992 words (approx. 8.0 pages), 7 sources, MLA, $ 63.95
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Abstract
This paper discusses how when looking at ancient Chinese art and even art today, one can easily see the influence of the Buddhists after they arrived in this country during the Han Period of 200 B.C. It looks at how Buddhism traveled from India to China and how it was transformed into something that could be readily incorporated into the local culture. It also discusses how the Buddhist influence increased to such a significant extent that huge amounts of money and human work were used to create astonishing pieces of art and elaborate temples and how this expanding interest in Buddhism led to new ways of representing deities, different forms of architecture for worship and changing rituals.
From the Paper
"Most Buddhist monks came to China by way of the Silk Road, which was a critical junction at the caravan trails that stretched from China to the Mediterranean. As the easternmost Chinese station on the route, the village of Dunhuang (Tunhuang) became the ideal location for these foreign monks to learn the language and culture before moving into central China. The missionaries and their Chinese disciples built the earliest Buddhist communities at Dunhuang in the late third and early fourth centuries. Many religious sutras were translated at Dunhuang and then distributed outward. Uncountable economic and human resources were used to produce Buddhist sutras and construct religious centers, including thousands of cave temples. "
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