| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "LIFE ART": |
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Life and Art, 2003.
Discusses the ways that aesthetic and decadent writers expressed life as an art form.
3,541 words (approx. 14.2 pages), 15 sources, MLA, AU$ 143.95
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Abstract
This paper examines the works of Oscar Wilde, Lord Henry Wotton and Thomas Mann. The paper shows how the notion of the self as a construction is particularly evident, not only in the fictional work of these writers, but also in the way that they themselves lived their lives.
From the Paper
"After visiting Walt Whitman during his lecture tour of America in 1882, Oscar Wilde said of the American poet: 'I have an admiration for that man which I can hardly express'. Looking at both Wilde and Whitman as personalities, it is difficult, at first glance, to imagine what Wilde, with his reputation as a quick-witted dandy could have found so admirable in Whitman, the self-confessed 'good gray poet'. But it was in Whitman, according to Alan Helms, that Wilde found 'an illustration of his favourite theory', that life imitates art. What Wilde found in Whitman was 'a consciously crafted man who had become his own ideal version of himself'. Later, in 1888, when Wilde commented to fellow Irish poet Yeats, 'I think a man should invent his own myth' it became evident that the notion of self-creation or the cultivation of his own image was something to which Wilde himself aspired."
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Life and Art in Modernist Literature, 1995.
A look at the importance of art in the literature of the modernist period, concentrating on Virginia Woolf's "To the Lighthouse", D.H. Lawrence's "Women in Love" and James Joyce's "A Portrait of the Artist as a Young Man."
2,704 words (approx. 10.8 pages), 3 sources, MLA, AU$ 117.95
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Abstract
This paper looks at the treatment of art in Virginia Woolf's "To the Lighthouse", D.H. Lawrence's "Women in Love" and James Joyce's "A Portrait of the Artist as a Young Man" by examining the way in which Gudrun, Stephen Dedalus, Lily Briscoe and other characters in the novels view art. It discusses whether art is truly the central priority of the modernist era by looking at it as a means of making life eternal and explores how art is used to "capture the moment" forever and how this is one of the main themes of modernism.
From the Paper
"What comes across most strongly in To the Lighthouse is its attempt at permanence, or the character?s struggle for permanence. As Mrs. Ramsay watches the sea beat at the rocks, prompting her to think that ?It was all ephemeral as a rainbow? (20) and her husband paces to and fro, musing on the nature of fame and immortality, and conceding in anguish that ?...the very stone one kicks with one?s boot will outlast Shakespeare? (41), we think of Woolf herself. Was the author using this, her most autobiographical work, as an attempt to make life (which is transitory) eternal, or crystallised through art?"
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Life in The Art of J.M.W. Turner., 2002.
Shows how the works of artist J.M.W. Turner represented the age in which he lived both in style and subject.
3,775 words (approx. 15.1 pages), 7 sources, AU$ 199.95
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Abstract
J.M.W. Turner may be seen as a turbulent artist for a turbulent time. This paper will discuss the life and work of Turner as metaphors for their age. It will be shown how Turner, in his art, represented the complexity and the ambivalence of his time; both looking forward with anticipation to the future and gazing back nostalgically at a past that would soon be forgotten.
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The Uncanny of Freud, Urban Life, and Contemporary Art, 2004.
A look at Freud's definition of the uncanny as explained in his 1919 paper, "The Uncanny".
2,346 words (approx. 9.4 pages), 27 sources, MLA, AU$ 104.95
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Abstract
This paper presents an overview of several interpretations of Freud's definition of the uncanny and then takes a look at how it relates to contemporary thought and postmodern theory and art.
From the Paper
"The uncanny is created or emerges in that fissure formed by a tension that results from a collapse of fixed certainties and accepted familiarity. Central elements in the idea of the uncanny, which has been adopted by the post-structural community and by elements of contemporary art, includes the idea of dislocation, de-centeredness, the un-homely and nothingness in place of habitual identity. Furthermore, the meaning of the uncanny has the potential to disturb the logocentric views of modernism."
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Art and Life, 2002.
This paper looks at the ways in which the artists Marina Abramovic and Orlan play with the boundary between ?art? and ?life?.
2,139 words (approx. 8.6 pages), 8 sources, MLA, AU$ 96.95
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Abstract
Abramovic and Orlan both present autobiographical material as their art. The paper analyzes the way they present their own lives to the public, resulting in little difference between their lives and art. The writer proves that it is possible to distinguish their art from non-art, but difficult to distinguish life from art in their cases as their art becomes their life.
From the Paper
"The work of Marina Abramovic and French multi-media artist Orlan derives from performing art, which became very popular in the 1960s and 1970s. Performance art is a visual art in which the creative activity and skill of the artist is the central focus. Both artists challenge and question life by approaching a specific concept or problem. Abramovich calls herself the ?Grandmother of Performance Art? . Critics do not dispute this fact as she embodies many people?s definition of the art. Arnold Aronson believes that performance artists often try to eliminate ?the boundaries between art and life and to confront the spectator directly? . In this way, Abramovic?s work plays with varying degrees of audience participation. The performing art piece is often of an autobiographical nature as artists take off their masks and presented ?themselves or their actions as the art work? . An important issue raised by a great deal of performance art is that of the nature of art. The artists which will be examined provoke discussions about whether their work can be called art or whether it is just life. Orlan describes her own work as ?Carnal Art?. This stems from ?Body Art?, itself a branch of performing art, in which the artist?s body becomes the canvas, the means to express their art. Orlan?s carnal art takes one more extreme step using flesh as her creative expression."
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Art vs. Life, 2001.
A comparative analysis of Alfred Lord Tennyson's "The Lady of Shallot" and Oscar Wilde's "The Critic as Artist", focusing on each author's conception of the nature of representation.
2,935 words (approx. 11.7 pages), 1 source, MLA, AU$ 125.95
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Abstract
This paper examines how, throughout history, artists have often been faced with the conflict between reality and art, between living life on the one hand and representing it on the other. In particular, it looks at how both Alfred, Lord Tennyson, in ?The Lady of Shallot,? and Oscar Wilde, in "The Critic as Artist", address this separation and examine the role of art and the artist in relation to society. It shows that, while Tennyson treats art as tragically irreconcilable with life, Wilde does not see the separation in such somber terms.
From the Paper
"In The Critic as Artist, Wilde uses the character of Gilbert to make similar arguments about the role of art and the artist. Gilbert sees that ?the beauty of the visible arts is, as the beauty of music, impressive primarily, and that it may be marred, and indeed often is so, by any excess of intellectual intention on the part of the artist? (page 1757). In other words, art is designed to affect one?s primary senses, and its beauty lies in its ability to do so successfully, not in its messages or morals. In fact, visual arts are not designed to have such intellectual purposes; art is supposed to appeal neither to ?the faculty of recognition nor to the faculty of reason, but to the aesthetic sense alone? (1758), Gilbert reasons."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, AU$ 64.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, AU$ 154.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Art, Sex, and Freedom of Expression in Asian Art, 2008.
An analysis of sex and sexuality in contemporary Asian art.
1,332 words (approx. 5.3 pages), 6 sources, MLA, AU$ 64.95
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Abstract
This paper explores the expressions of sex and sexuality in the contemporary art of three Asian nations: Japan, China, and South Korea. The paper also looks at public and critical reactions to such works of art, in order to gain insight into the role sex and sexual art play in Asian cultures. The paper then points out that to a Western viewer, images of sex in contemporary Asian art are often shocking in their explicitness or sheer strangeness. The paper explains that once we begin to understand the context in which it has emerged, the representation of sex in contemporary Asian art is analogous to our own in the Western world. The paper concludes that sex is clearly a universal area of interest for artists from all over the world. While some nations, such as the Japanese, are free to explore the subject in all its glorious, perverse, and occasionally horrific detail, other nations punish their artists for making the most minor transgressions.
From the Paper
"In Japanese art, what comes across as shocking to an American audience does not necessarily seem so to the Japanese themselves. This is because the Japanese do not carry the burden of Christian guilt, nor have they been influenced by the Puritan ideals that continue to surface in American discourse. Indeed, the Japanese have a much more open attitude towards sex than any other nation in Asia. Sex in art, however, is often used to challenge accepted modes of discourse in Japanese culture, and is thus considered to be a tool of dissent. This is particularly true for Japanese women artists who wish to challenge the Confucianist idea of women as submissive beings."
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, AU$ 68.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Frida Kahlo, Woman and Artist, 2005.
A paper analyzing the life and art of Frida Kahlo.
3,375 words (approx. 13.5 pages), 13 sources, MLA, AU$ 172.95
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Abstract
This paper provides an analysis of the life and art of Frida Kahlo through the psychoanalytic theory of Carl Jung. The paper examines how Kahlo's art and life are inseparable. The paper also looks at her early life and development. The author applies Jung's theory of the unsatisfied yearning of the artist to Kahlo's life and work.
From the Paper
"Only one solo exhibition of Frida Kahlo's work was held during her lifetime. This was near the end of her life and long after she had produced her best work. Today her art is revered and admired for its sheer accessibility and timelessness, held in high regard by women, Latin Americans, artists and other marginalized cultures alike. It is through her art that Kahlo expressed herself, and as such, the images that she painted during her lifetime exist not only as..."
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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, AU$ 127.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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Munch, 2005.
A discussion on Munch's life and his works of art.
1,150 words (approx. 4.6 pages), 5 sources, MLA, AU$ 57.95
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Abstract
This paper outlines the symbolism and primitive aspects of Munch's art through discussion on his life and work. It explores the impact of his life experiences on his artistic approach. The author discusses the Expressionistic quality of his painting "The Scream."
From the Paper
"The word that was used to describe the works of the creative artists in the th century was avant-garde. Immediately before this time paintings were fairly straight forward and realistic lacking the use of symbols but the avant-garde art ..."
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The Art of Medieval Mali, 2002.
This paper discusses the intricate relationship between medieval Mali culture and art in everyday life.
1,497 words (approx. 6.0 pages), 4 sources, MLA, AU$ 71.95
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Abstract
This paper explains that, at its height around 1400 A.D., the empire of Mali, extending from the Atlantic African coast to east of Gao, was a center of commerce, culture and education. The author points out that medieval Malian art in all of its different forms had a defined role and that function was to reflect, express and highlight daily life, customs and ideas in their world. The paper relates that in addition to the worldly objects of daily life were the exquisitely fashioned articles of religion, such as headdresses, masks and statues, which were all important in the worshipping of Malian deities and chiefs.
From the Paper
"Aside from the numerous items in Mali life that played a role in work or worship, there were also those that merely indicated one's standing in society. Instead of money (in medieval Mali, gold) being the only measurement of prestige, jewelry, certain types of furniture, and even corporal markings (tattoos, piercings) served as a way of showing one's role in Mali society. While many of these articles did indicate social standing, they also could play a role in rituals. For instance, a necklace could denote prestige, ward off evil forces, and adorn the body all at once. Malian jewelry, one of the most esteemed crafts, was then and is now renowned throughout Africa and the world. Using the resources around them (gold, diamonds, other precious metals and gemstones), Mali artisans would fashion necklaces, earrings, bracelets and brooches, and especially rings. These works of art would not only have deep spiritual meaning - one necklace symbolized the sun spirit - but could also indicate how wealthy a person was, what their occupation was, and even whether or not they were married."
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African Rock Art, 2008.
Looks at African rock art as true art.
1,545 words (approx. 6.2 pages), 9 sources, APA, AU$ 73.95
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Abstract
This paper argues that African rock art is both art and ethnographic records, created by hunter-gatherers, herders and later farming communities five or six thousand years B.C. The paper relates that rock art includes rock engravings (petroglyphs) and rock paintings (pictographs) depicting comparable themes and images but traditionally present a limited number of details and human figures. The paper describes the techniques used in creating the art and contends that African rock art is art because art is in the perception of an individual. The paper includes color pictures, map and graphs.
Table of Contents:
This is Art?
Ethnographic Records
This is Art
Rock Art Links
The Rock Art Research Institute's Perceptions
This is Art!
Complicated Pictures?
Perceptions
From the Paper
"Ethnographic records or rock art, created by hunter-gatherers, herders, and/or later farming communities, is displayed in the majority of Africa countries. Southern African rock-art, however, traditionally records experiences reflecting the belief systems and rituals of the indigenous people of their particular region. Although a minimum of 14,000 sites are currently on record, more exist, not yet formally recorded and projected to exceed 50,000 sites in the Southern African region."
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Ernest Hemingway: His Life and Works, 2002.
Examines how American writer, Ernest Hemingway, used his life experiences as material for his novels.
2,743 words (approx. 11.0 pages), 6 sources, MLA, AU$ 119.95
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Abstract
Ernest Hemingway (1899-1961), one of the most popular and influential American novelists of the twentieth century, enjoyed nearly as much fame as a hard-living, adventurous personality as he did as a major artist. The paper shows that his life and his art were intertwined in many ways, and biography plays an important role in understanding his work. The paper shows that a great deal can be learned about Hemingway's art by studying the ways in which his life was transformed in his fiction--the process that made his fiction works of art rather than autobiography. The paper discusses several of Hemingway's books, including "The Sun Also Rises" and "A Farewell to Arms".
From the Paper
"If the autobiographical element in the Nick Adams stories is fairly direct--and the character can be considered Hemingway's alter-ego without any difficulty--the story in the novel was even more directly taken from life. Yet Jake Barnes, the protagonist, is far more problematical as a stand-in for the author. In some ways the character's disgust with the 'lostness' of the other lost generation characters in the book and his pleasure in the art of the bullfighter reflected the real Hemingway. They were also the first fictional steps in the author's lifelong project of "orchestrat[ing] his own persona, a persona which continues to dominate both popular and critical evaluations" of the novels and stories (Clifford 172). Thus readings of the novel sometimes concentrate too heavily on this emerging public Hemingway."
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