In the article Half-Measures Won’t Erase the Painful Past of Our Monuments, by Holland Cotter, cotter describes the connotations of historical monuments from the past and how it impacts the present by using rhetorical choices such as ethos, pathos, and a neutral tone, to relate to those who have been impacted by the history and to spread more awareness about their history. The government’s actions on whether the monuments convey a positive or negative messages, is not satisfying, which is related to the title “Half-Measures Won’t Erase the Painful Past of our Monuments”. Through the use of pathos, Cotter relates to readers who have been impacted by the people who are being celebrated by monuments, by referring to the messages monuments
She writes, “The standard apology for museum sales activities, ‘Because we need the money. ’”(Source D). This describes the gift shop aspect of the museums and how it is not well regarded among both museum patrons and art connoisseurs alike. Even though this system of earning money is not what the public would like to see, it is still essential to running the
These exhibits exclusively made by chicano artists from Southern California, show freedom of speech and social problems such as immigration that the artists believe are present in the United States. These art pieces are aided by its use of objects, how it curates those objects, and use of space to create a relationship between viewer create many historical arguments about the significance
The Isabella Stewart Gardner Museum showcases Mrs. Gardner 's collection to the public in greater Boston area. Each room functions as a pilgrimage, as one travels through various countries and time periods ending at the chapel and subsequently the Gothic room. In this paper, I will examine the Gothic room 's theme in relation to the placement of its objects. I will also evaluate the room 's strengths and challenges in serving the public, and how the practices employed in this room fit into the context of accessibility for the entire museum.
In the opening of this disposition the reader is presented with the transactional relationship between smartphone photography and museum audiences. Museum hash tag portrait centered advertisements have successfully served in the increase audience attendances and the dismantling preconceived notions of “patrician elitism .” However, Gibson calls museum officials to access the implications of smartphone technology in the museum
Why would a 60ft monument want to glorify a slave owner? But by someone observing the monument they would not know that a slave owner is being glamorized.
After reading “A Different Mirror” by Ronald Takaki, Chapter 6 of “Chicana and Chicano Art” by Carlos Jackson, and Surveillance by Ashaki M. Jackson, I learned about how collectively minorities face oppression based on their race and how even through all the adversity they faced they still considered themselves to be American although others did not consider them to be. In the beginning of “A Different Mirror”, it describes how the end of WWII sparked a fire for minorities desire to be considered first class citizens such as white americans. Throughout the readings I also learned about how and why many minorities migrated to America. All in all this week's readings really opened my eyes, from the powerful poems in Surveillance to how chicano art has been publicly
As presented in the film “Zoot Suit Riot,” the young Zoot Suits disclosed a division between two youth groups: the gangs of African Americans, and Mexican youths who created a portion of the zoot-suit subculture, and the white sailors and Marine servicemen stationed along the Pacific coast. The riots had racial and social differences but the primary issue seems to have been patriotism and attitudes towards the war. Nonetheless, the white servicemen abused their power and through that riot, they shred light on racial discrimination and that what the art work at the Great Wall represents. The boots standing above the person of color demonstrates the power and authority of the law, it has the power to strip away the little that a person has, and cares less if they hurt or cause damage. The Zoot Suit just like the rest of the Chicanos were struggling to represent themselves in this racist society whether it was through fashion as a way of political
Martin Puryear’s Ladder for Booker T. Washington (1996) is an iconic work of art. The sculpture, made of ash and maple wood, resembles a near-endless, sinuous ladder due to the artistic deployment of forced perspective. The distance between the rungs begin at an 11 and 3/4th inches wide at the bottom, and slowly diminishes as you near the top, their span being a miniscule 1 and 1/4th inches apart at its peak. The subject in matter when referring to Puryear’s Ladder is quite fascinating to observe.
Portraits are often situated in galleries. In such places, portraits are to be observed as works of art, as likenesses of “worthy” individuals, such as historical figures or other sorts of celebrities, or as depictions of ancestors. Their function is, generally, to elevate the status of the person(s) to whom the gallery belongs. Such portraits as mentioned previously are frequently found in official buildings, like courthouses, banks, capitols, etc. In such instances, portraits are placed in these locations
He joins more than one thing together including ideas, contexts, and cultures. They make you feel the connection between yourself and the object, which makes you feel like the sculptures are masks or faces. The scupltures power puts off the feeling of the control over African Americans during slavery. Its compositional exchanges, sculptural unity, and poetic suggestiveness are always more persuasive than the functional reality of the objects within
Blondeau’s piece is a parody magazine cover, featuring Blondeau posed in an iconic white pin-up girl aesthetic; a satirical Cosmopolitan cover page model. And in contrast to this item, Mi’kwite’tmn by Johnson is a combination of three different exhibition components; resulting in an interactive setting. A section of Mi’kwite’tmn consists of a responsive Archive Room, holding O’pltek, including a workstation to scan these forms and view these object’s digital records. Johnson uses the “hands-on” approach to include the viewers in the space, thus confronting the audience of their own understandings of what objects do or do not have cultural value, and whom has decided which objects have contemporary cultural value or are considered artifacts. Blondeau’s piece lacks a hands-on experience, but still confronts viewers to examine prejudices by confronting the viewer.
“The aim of art is to represent not the outward appearance of things, but their inward significance,” –Aristotle Good art transcends time. Through imagination and skill, the visual arts lure a selected audience into different minds and creative worlds, providing a larger context for humanity, urging them present and historical issues. Art holds clues to life in the past: by decoding a work’s symbolism, color, and material, we can better understand the community in which it was produced—albeit crucial moments or ideas of a certain culture or era. Furthermore, comparing artwork provides a well-rounded perspective for looking at events, situations, and people. In analyzing past artwork, we rewind time and experience it on a personal level.
From being a strictly specialist subject catering for a small elite, contemporary art has entered the cultural mainstream in an unprecedented way. This is, perhaps, where one can draw a line between ‘collecting art’ and simply ‘buying art’. Regardless of the motivation, a collector has a serious, eclectic and discernible approach to accumulating art whereas, in comparison, a plain buyer is a sporadic customer for who the value of art may not be the prime consideration while picking up art arbitrarily. Artists are given celebrity status, and in New York City it is a widely quoted fact that more people visited Imran Qureshi’s in situ artwork on the Met’s rooftop than attended Michael Jackson’s concert at Madison Square Garden.
Monuments Men is a fairly recent film with the premise of a group of soldiers during World War II tasked with protecting the artwork within the continental Europe from those who want to take it. It primarily centers on the story of Frank Stokes, played by George Clooney, and how he is able to assemble a ragtag group of “soldiers” and actually enter the frontlines. Over the course of the story, the group loses a few members, but do manage to discover the stashes of art hidden by Hitler and save it from destruction, including the Ghent Altarpiece and the Lady Madonna. Despite having already watched this movie, is still struck me how much the movie’s message still resonated with me. The movie makes a clear case for the value of art, and I feel
