A Discourse Of National Identity

During my visit to the Brooklyn Museum, I found it both intriguing and informative. The layout of the exhibition was divided into about three to four sections. Each section of the museum represented a movement of the 60’s. The themes represented were segregation of blacks and whites, how they tried to gain equality and the changes they anticipated would happen in the future. The artwork throughout the exhibit was displayed in a varying gradient of black and white to colors.

Late on Wednesday night, my phone ringed. It was a text message from my friend Pedro, “Do you want to visit an art museum tomorrow”. Knowing I needed to go, I texted him back quickly, “pick me up after your class tomorrow and we can adventure to The Weatherspoon Art Museum at The University of North Carolina at Greensboro”. After Pedro’s class, we explored the museum observing multiple art works, and I was invoked by three, art pieces. All three were different and intriguing in their own way. For instance, the painting that is on top of the cover page with all the wavy hair was painted by Catherine Murphy and is known as the “Frosted”. This painting was very delightful because of its unique elements. Second, the sculpture in the middle of the cover page is an image of a wooded animal. This sculpture was crafted by Deborah Butterfield and is recognized as Lunalilo. Also, at the bottom of the cover page is a sculpture constructed by Dan Graham, the sculpture was known as Triangle Solid with

American art, and its countless mediums, evolved equally with the capitalist country. This is a visual medium and a form of self-expression, where an artists is free to turn a canvas into anything he or she would like. They are not bound by grammar, words or other aspects of written communication and could freely As the old saying goes, "A picture is worth a thousand words”; and in America, their work served as mirrors of the social and political climate. The many painters, architects, and photographers themselves could be considered the archivists that shaped the “all-American” identity.

The New York Metropolitan Museum offers a vast variety of virtual tours which includes artistic exhibits from historic Europe. In addition to the multitude of current exhibits, the museum offers to the public for free, access to previous exhibits. The exhibit chosen for the tour, “Drawings and Prints: Selections from the Permanent Collection”, was presented from April 12 through July 18, 2016. The collection highlights not only American but also European prints, drawings, and books containing illustrations. Most of the art was available for viewing, and were displayed in the Robert Wood Johnson Jr. Gallery, ranging from the Renaissance to the present. While some pieces were not on view during the exhibit,

By each exit door, a small box requests that visitors write their opinions on the collections and what they would like to see in the future. The museum’s desire to be relevant in the community has shown, as locals were excited to see artwork that they had requested in an earlier trip.

This week readings discusses both the history of museums, primarily in the United States, and their evolution from high brow institutions to ones that serve, educate, and engage the populace. The articles also trace the constant discussions museum professionals had regarding the focus and dissemination of their collections. These articles all agree that museums must transform from places that solely focus on the collection, preservation, conservation, and dissemination of rare items to ones that also become a part of the community, represent the many voices and interests of the public, educate, and become a forum for discussion about issues beyond the items in a glass case of hung on he wall.

The Alfred Stieglitz Collection of Modern Art in the Van Vechten gallery at Fisk University accurately represents the modern art movements within the United States and Europe. European artists like Pablo Picasso, Paul Cézanne, Gino Severini and Renoir are featured in the exhibition. American artists like Marsden Hartley, Florine Stettheimer and Charles Demuth have pieces displayed as well. One can surely witness the differences and effects of European modern art on American artists and their work when visiting the exhibition. During the early 20th century, American culture began to redefine its ways of perceiving or experiencing the world. This affected artwork allowing it to become much more experimental and explore new topics or styles. American

Once the visitors have ventured through one exhibit they are then directed to next culturally diverse exhibit. Like most ritual space, museum space is carefully marked off culturally designed as reserved for a special quality of attention in this case of contemplating and learning (Duncan, p. 425). Visitors can enter the Western American Art, which takes the visitors on a different cultural journey of enlightenment. One would see, the magnificence behind the objects and paintings in the exhibit to realize that the works are art are here for their sheer thought provoking beauty. If art objects are most properly used when contemplated as art, then the museum is the most proper setting for them, since it makes them useless for any other purpose

This book indicates that Grose was responding to a number of matters involved with the discourses going on toward art history. The introduction makes mention of a past tendency among historians of art to seek to discern and make claims of the distinctiveness of American Art. Groseclose contends that such attempts are undermined by the diversity of region and class groups, and by the similarity and interconnection between American and European art. Though in the course of the book the emphasis for countering this unified distinctiveness had tended to focus on dynamics of changes over the century and socio-economic distinctions.

The relationship between personhood and nationalism is a complex and contended discussion. There is extensive theory surrounding the contested understanding of the ways personal identity and (national) social identities are mutually informed. It can be argued that nationalism plays a role in shaping the personhood, as personal identity draws on the cultural aspects of national identity and integrates these ideas into individual self-understanding (Hearn 2007). Through ethnographic case studies, this essay will examine the role of Billig’s ‘banal nationalism’, Cohen’s ‘personal nationalism’ and Hearn’s ‘embedded nationalism’ in understanding how national identities (as social categories) are linked to personhood and used to make sense of the

Communities throughout history have always sought to define who they are as a collective whole. Over the course of time, it was this that helped bind nations together through a collective sense of national identity and belonging. Although there are some set definitions that people use to define who collectively are, such as their own language and national history, this is not the only explanation of how groups of people have conceived who they are. In reality, communities have primarily conceived who they are by comparing themselves to an ‘other’ who they are not. As the historian Peter Sahlins put it, national identity over the course of time has been constructed “by the social or territorial boundaries drawn to distinguish the collective

Critically discuss the value of the concept of ‘banal nationalism’ for debates around the relevance of national identity in social and political contexts

The word country was utilized before 1800 in Europe to allude to the occupants of a nation and in addition to aggregate personalities that could incorporate shared history, law, dialect, political rights, religion and customs.

As we noted early in the semester, food plays an important role in the shaping of personal and group identity, be it national, ethnic, racial, gendered, cultural, etc. Choose one of the preceding types of social identity and explain how food may play a role in shaping that identity. Be sure to include the relevant literature. For instance, if you discuss gender, then use Carol Adams, “Sexual Politics of Meat.” How does the shaping of this identity occur? Are there elements to identity formation that are problematic or troubling? If so, why? Be specific and argue for your view using explicit normative foundations. It may be quite helpful to bring in secondary research to lend support to your argument.

The Art Institute of Chicago’s contemporary art gallery after 1960 does a remarkable job of creating a visual world for their audience throughout the entire gallery. Remarkable in a way, that the audience can easily recognize and point out things; things that people can relate to in their everyday life or things people found of interest. The contemporary gallery after 1960 presents a visual experience for their audience that was imagery. Two works of art that stood out the most was Andy Warhol’s Mao produced in 1973 and David Hockney’s American Collectors produced in 1968.