A Case From Afar Rhetorical Analysis

In “Bring Back Flogging”, Jeff Jacoby addresses the problems within America 's criminal justice system. He gives many reasons why imprisonment simply does not work, and suggests that corporal punishment should be used as an alternative. Published in the Boston Globe, a newspaper well known for being liberal, Jacoby provides a conservative view and directs his argument towards those who strongly support imprisonment and view corporal punishment to be highly barbaric and inhumane. However, in order to shed light on our current situation, Jacoby discusses the dangers that we face though our criminal justice system a nd shows concern that imprisonment is doing more harm than good. In effect, Jacoby looks to the past for solutions, and

When you see a solider in his or her uniform, you are proud that they are serving this country to protect our freedom, securing our country, and defending democracy worldwide. The solider can come from different branches of the Military. The one you might be familiar with is the U.S. Army. These soldiers are well respected and prepared to serve our country whenever and wherever needed, combat-ready at all times, and trained to counter any threat, anywhere. In 2007, the United States Army department published a recruitment ad for U.S.

Perhaps these public museums in Toronto can express social goals simply by fulfilling its own role with dedication and brio. With their intense pace, swift changes and unpredictable bursts of brilliance, cities have established themselves as the most compelling product of modernity. Fresh architectural energy will spread out and develop from the historical core, opening the institutions to the city and the city to the institutions. With Labeskind and Gehry’s buildings, the ROM and the AGO have become, among many other things, a frame for the new

“Take Me (I’m Yours)” is an “extremely radical exhibition that really quintessentially questions the very core what a museum is,” said Jens Hoffmann, Director of Special Exhibitions and Public Programs. Jewish Museum keeps the exhibition processes accessible to all aspects of participatory behaviour by audiences, and draws in the wider potential participatory systems, such as, audience curating, documenting, collecting, and preserving. As Boltanski told Hoffmann in a newly published conversation about the show, “in thirty years we might see something someone took away from the Jewish Museum’s exhibition emerge at a public auction.” (Cascone, 2016)

It was 3 o’clock on a tuesday. Seeing that it was nearing closing time, all exhibits in the museum were nearly empty. Room after room of artwork had no one in them, except for the few security guards scattered here and there. Wanting to see everything, I left behind my family and rushed through the vast museum.

Museums manifest that artwork is more than just pictures of beautiful landscapes and fashions of the past; artwork provides an exclusive view into the elusive lives of people throughout history who experienced many different circumstances. However, while viewing and analyzing artwork provides a

The fall 2016 exhibit at Esker Foundation features three shows: The Traveller by Cedric and Jim Bomford, Tear Down and Rebuild by Jasmina Cibic, and CIVIC. CENTRE. by Larissa Fassler. Curated by Naomi Potter, the gallery contains approximately 18 different works by the four above named artists. The shows each have strong work in their own right and converge on themes of construction, urbanization, and ideals of nationalism. Housed within a mixed-use retail and office building, to visit the gallery one must proceed to the fourth floor via a glass staircase. Upon entering the gallery an attendant greets you with instructions that programs are available with curatorial texts to take and aid with the visit. If you continue straight ahead, at the far end of the gallery, elevated on the second level is ‘the nest’ a circular meeting space or boardroom made from overlapping grey industrial strips that hovers above the space. The didactic texts are found on the wall below ‘the nest’, which is good placement to avoid the sculptural treatment of the meeting room from being a distractor away from the work, it’s large and could be mistaken as art in and of itself.

On July 14, 2015 I made a trip down to Celebration to see the art gallery at the Bohemian Hotel. Every single time I enter the town of Celebration I fall more in love. Well, today I realized that art galleries do not need to be big, to be impressive. As I arrive to the hotel I get to take in the beautiful architectural design of the hotel. Inside I get the pleasure of seeing more than 75 different art pieces. The whole reason I wanted to go to this specific location was, because someone had told me that there was glasswork throughout the hotel. However, the small yet impressive art gallery captured my attention more. The hotel had art pieces all over, but I got all caught up in a corner where local artists, Nina Buxton, Huston Llew, and Phillip Anthony; had their beautiful pieces of art.

The museum had an ample amount of artwork on display, in addition to the permanent collection, the museum offered three special art exhibits. I must admit I had not visited a museum for quite some time and I appreciated the entire display of artwork. The first area I entered composed of one single display, Red Grooms’ “Model for the Fox Trot Carousel.” Next, I observed Hassan Hajjaj: “My Rock Stars” which contained several artwork of people with instruments. Finally, I entered the exhibit that contained Veda Reed’s “Day into the Night.” Immediately, I fell in love with this display of artwork, particularly Day into Night, Lunar Halo, and Daybreak.

On Saturday October 4th Nuit Blanche Toronto’s annual celebration of art, drew crowds of spectators to the streets of downtown to experience the awaited installations. Many pieces referenced strong messages on topics ranging from cultural differences, environmental concerns, and social issues. The night was divided into four main zones: Before Day Break, The Night Circus, The Possibility of Everything, and Performance Anxiety, each zone was located in a region of downtown Toronto. We started our night at Spadina Avenue viewing the exhibition Everything is possible and walked all the way to Fort York finishing our night with the exhibition Before Day Break. In total I was able to view 31 installations consisting of video, sculpture, and performance. The piece that stood out to me the most during the night was located in Fort York in the exhibition Before Day break. This themed exhibition consisted of 12 installation pieces that focused on the “evoking complexity of life itself” with topics ranging from social politics, human relationships, cultural diversity, and religion. The piece that moved me the

When one walks into RISD Museum’s contemporary exhibition, it is easy to notice the architectural strong lines of the room and immediate sculptures on view, which are simple but strong with minimalistic lines are easy on the eye. One glance at Steven Campbell’s Men Insulting Nature and the Notion of Travel, and people don’t know what to do. The large size of the canvas, in comparison to the other works of art in the exhibition, is harsh to the eye. Campbell’s piece creates a reaction opposite: one needs to back up and take in the whole piece, then move closer to analyze the details. This “dance” continues, moving closer to look at the tiny details, then backing up to look at the whole piece with the new information learned; however, every time the viewer does this, it leaves them with more questions.

The exhibition curators attempted to create an exhibition that went further than display of historical artifacts to tell a story of the past to make it relatable to visitors today as “considering objects, images, and first-person accounts of a variety of people across time can cultivate our narrative imaginations and help us better understand our diverse nation” (Salazar-Porzio and Troyano 20). The exhibition highlights topics such as ethnic diversity, equality, and freedom, “so that as a nation we might go beyond simple acknowledgement of our past, present, and future diversity to focus on building an equitable and inclusive society” (Salazar-Porzio and Troyano 16).

One of the most inspiring exhibition that I’ve never visited, but it’s one of my biggest dream to see in real life is the exhibition by Marina Abramovic ”The Artist is Present”. I found out about this exhibition in my performance class in jazz class. We watched the entire movie about this exhibition, and Marina Abramovic’s life. I was really inspired by the unique concept of this exhibition. Her work explores the relationship between performer and the audience, and the possibilities of mind. Marina Abramovic was sitting in a chair, and each individual from the audience was allowed to come to take the chair across from her. There was no talking allowed, just sitting in silence. A lot of people reacted very emotionally to this silent moment

Bourriaud coined the term ‘relational aesthetics’ in the catalogue of his 1996 exhibition Traffic, featuring Liam Gillick, Rirkrit Tiravanija, Dominique Gonzalez-Foerster, Phillipe Paranno and Carsten Höller, among others. These artists worked within a “sphere of ‘inter-human relations’” (Baker, 2004, p.50), and works often appeared to meld into one another, as if created by a singular artist. Artists would play with museum conventions, using the exhibition as a medium, conducting experiments such as exhibiting off-site works and changing the exhibition throughout its duration (Bishop, 2012, p.207).

There is no doubt that relational aesthetics as a conception has absorbed attention and debate by critics and curators in exhibitions. I provide the approach of reference to relational aesthetics such as A Better Tomorrow of Fong’s project can help understand curatorial studies and art. I appreciate that I can involve in this project as Media Director. However, I will rethink it from a curator side and critical examine the conception of relational aesthetics reflected in this project.