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The essays seek to understand and explain the relatively new movement of nonrepresentational art and defend these pioneering artists attempting to escape from the embraced realism and romanticism movements. [1] The dehumanization of art refers to the removal of human elements from these works, eliminating the content, but keeping the form.
They may be created in media which the artist knows to be temporary, such as sand, or they may be designed specifically to be recycled. Often the destruction takes place during a ceremony or special event. Examples of this type of art include street painting, sand art such as sandcastles, ice sculptures and edible art.
Neo-Expressionist artist Jean-Michel Basquiat (1960-1988) began his career on the streets in the late 1970s, quickly attracting attention for the graffiti art he and Al Diaz made under the tag SAMO.
Head of Christ by Warner Sallman (1941) is the most widely reproduced image of Jesus, despite the fact that Jesus was a Hebrew man from the Middle East. Whitewashing in art is the practice of altering the racial identity of historical and mythological figures in art as a part of a larger pattern of erasing and distorting the histories and contributions of non-whites.
History is a social resource that contributes to shaping national identity, culture, and the public memory. Through the study of history, people are imbued with a particular cultural identity; therefore, by negatively revising history, the negationist can craft a specific, ideological identity.
Examples of this relationship, between social transgression and the exploration of mental states relating to illness, include many of the activities and works of the Dadaists, Surrealists, and Fluxus-related artists, such as Carolee Schneemann – and, in literature, Albert Camus's L'Etranger or J.D. Salinger's The Catcher in the Rye.
By its original and broadest definition, art (from the Latin ars, meaning "skill" or "craft") is the product or process of the effective application of a body of knowledge, most often using a set of skills; this meaning is preserved in such phrases as "liberal arts" and "martial arts".
"The Critic as Artist" is a significantly revised version of articles that first appeared in the July and September 1890 issues of The Nineteenth Century, originally entitled "The True Function and Value of Criticism." The essay is a conversation between its leading voice Gilbert and Ernest, who suggests ideas for Gilbert to reject.