Analysis Of Donald Blumberg 's ' The Master '

He is an artist who focuses mostly on portrait art. Most of his paintings are created from oil painting on canvas, and some of his other works are paintings that are on stained glass. Many of his paintings focus on the recreation of old historical paintings in between seventeenth through the nineteenth century art. However, instead of including the historical people in the paintings, he replaces people from history with people in the black community. He wants to break the stereotype of the identity of black people and show that he is not just a black American living in America, but something more than that. In many of his paintings, he decides to use many different types of textiles and patterns from different times to bring out his artistic technique. New York Times explains that his “subjects wear hip-hop fashion or designer gowns, and in addition to posing as kings and saints, they mimic aristocratic ladies in well-known paintings from the Louvre or masterworks of African sculpture.” (New York Times 1). He also uses the bold and colorful colors to bring the painting to life. In many of his paintings, he also brings out some of the hip-hop cultures in each of his paintings, using the different looks from the hip-hop era. One of his most famous paintings was the Napoléon Leading the Army Over the Alps, which he replaces Napoléon Bonaparte with a black

When it comes to critical thinking, reading and writing are two factors that deal with the critical thinking process. A few key aspects of critical reading and writing are identifying the tone in ones writing, how to throughly read and annotate a text, and the revision process. In the essay, “The Maker’s Eye”, Donald Murray explains how the attitude of a writer, listening to what readers have to say and how to edit your own writing makes your work better when critically thinking in college. These aspects of critical thinking, reading and writing make will keep the reader interested and make the writing easier to translate when read.

My viewing of the One Man, Two Guvnors production in 2013, and the feelings of chaos, shock, anarchic laughter and anticipation sparked my interest of exploring this play, and why its lazzi and improvisation added to the heightened experience I had, whist viewing this performance. I became interested in how much the One Man, Two Guvnors play written by Richard Bean, was based of the traditional Commedia dell’Arte play The Servant of Two Masters written by Carlo Goldoni. I planned to explore the extent of how much the play was improvised and the extent of how much it was scripted and planned. I looked at why Commedia dell’Arte used improvisation and the approach of incorporating improvisation and lazzi into a performance. I went about doing so by comparing the characters and the scripts of Bean’s One Man, Two Guvnors to Goldoni’s The Servant of Two Masters. I researched the role of Improvisation and Lazzi in traditional commedia dell’Arte and compared it to its role in One Man, Two Guvnors. I decided to carry out my research by surveying audience members who had viewed the production of One Man, Two Guvnors , and finding out how the incorporation of improvisation and lazzi heightened the experience for the audience and impacted them.

Scraping By, by Seth Rockman offers an insight to the rarely recorded history of ‘the chronically impoverished, often unfree, and generally unequal Americans whose work made the United States arguably the most wealthy, free, and egalitarian society in the Western world”(3). In the book, Rockman showcases to his audience the flourishing booming port of Baltimore, Maryland and the complications of the men and woman, white and black, which worked on the early capitalist development. An absence of economic safety and impoverished state republic capitalist prospered on is what this diverse group of people had in common. He explains early republic capitalism as “a political economy that dictated who worked where, on that terms, and to whose benefit” not a “synonym for market exchange” (5). Rockman not only shed light to the view that capitalist economy utilized human labor as a tool for economic development nationally and of private wealth’s service, but he also justifies the argument that the opportunity to harness an assorted group of workers who were denied the liberty to rightfully claim their freedom without holds, was what capitalism was built on. He also touches on the people of unskilled labor who never gain prosperity or success economically and ultimately remained in manual labor. Rockman’s purpose is to shed light on the various kinds of exploited individuals and conditioning them in Capitalism’s systemic dependence in the history line of the United State’s political

For my chosen photographer, I have based my project for ‘In the style’ on Berenice Abbott’s. Abbott work was mainly based in the 1930’s of the urban designs of America, she was best known for her black and white photography as well as her documentation of New York City. She had a great approach to photography in a variety of ways, through her own style of work and through her introduction of other artists including Eugene Atget’s, for his unique photographic techniques. Abbott’s work has not always been based on photography as she focused on Journalism, but soon became interested in theatre and sculpture. She began her career in photography in 1923 as an apprentice to Man Ray. In 1925, she set up her own photography studio in Paris and made several well-known portraits of artists and writers who were popular in this time. Berenice returned to New York City in the time of the Wall Street Crash, which was the largest stock market crash in American history in

David Garland begins by asserting: "We quickly grow used to the way things are." His description of our contemporary culture of control, and of our acceptance of it, calls to mind the mythical frog in the saucepan: dropped into hot water the frog is startled and leaps out; but if the heat is turned up gradually, it sits there without noticing until it boils to death. In our case - "our" in the book refers to Britain and the United States - most of us have failed to notice a quite rapid turning-up of the heat.

An exhibition never fails in taking the spectator on a journey through the chosen art’s narrative. The vast selection of exhibitions that were available at the National Gallery of Art made it difficult to narrow down the preferred choices. While examining the exhibition list one word seemed to capture my attention. Urban. I had the privilege to be born in a foreign city and to grow up in yet another city. This perspective colored my gallery selection and placed emphasis on the word “Urban.” Located in the West Wing of the Natural Gallery of Art, “Urban Scene 1920-1950” is an exhibition that reveals the four century-old artistic interpretation of the dynamic life that comes with residing in a city. Part of the beauty of the exhibition is the incorporation of less recognized American artists that worked on various printmaking techniques to create these astonishing achievements. The installation utilized minimalistic styles that introduced the viewer to various cities in the US. During the

On W 27th Street in New York City there is a small building among the masses that included the Aperture Gallery. After taking the stairs up to the fourth floor I began to feel a unique type of youthfulness that was felt throughout the gallery. As I walked into a bright white room surrounded by windows and the smell of fresh white paint  I quickly took began to take in Doug Dubois’ “In good time” which included a mixture of three series he compiled over the year.  was hanging throughout the gallery. As someone who is used to visiting museums such as the Renwick, Moma and the MET this work was a little different then I was expecting. In simple terms it was real.

I believe the artist created an expressive theory piece of art because Muniz used magazine pieces to re-create his version of New York City with amazing color and detail. The original Bellows’ oil painting is also expressive, but somber, darker and not as detailed in the background or as colorful as Muniz's artwork. Bellows’ artwork shows the New York City buildings with very little detail where Muniz used the strips of magazine pieces such as bodies, faces, mouths, teeth, lips, stairs, a zipper, a cobweb, fruit, and money to create the buildings in a very unusual and interesting way. These images seem to indicate the life and activities that are happening inside the buildings because of this incredible detail.

photography skills and that he created a photo style that was both dynamic and direct. His later photos

He appreciated how the camera transformed subjects close up and how the contrast of black and white further changed the recognition of an item. It is not difficult to understand his love for abstract objects an photographs, a characteristic which would

The work of art selected by the Artist David Wojnarowicz is a series of twenty-four black-and-white gelatin silver prints known as “Arthur Rimbaud in New York”. David Wojnarowicz was a New York City artist and AIDS activist. He identified himself closely with the French Poet Rimbaud. They led similar lives and lifestyles in that they both came from broken homes and found solace and at times anger through their art. Both Rimbaud and Wojnarowicz had feelings of being denied freedom; they both ran away from their harsh reality and both were homosexuals. Their lives spanned over a hundred years apart but Wojnarowicz identified himself closely with the angst that was Rimbaud. The black and white prints have a grimy appearance to them showing a bit of antiestablishment and alternative lifestyles in hard New York. Wojnarowicz style used collage imagery. His method was similar to the artistic process assemblage. This process brought together two or three-dimensional compositions using other objects. In these series of work, this method is subtle and used in print. The prints themselves are of a friend of Wojnarowicz’s wearing a mask that showed the face of the French Poet Rimbaud. These prints were photographed in many different areas of New York. In the example of one of the prints in the series (3/6), the image is of a friend wearing the mask of Rimbaud and showing themselves as lovers. The image fused the French poet’s identity with modern New York urban

TXT- He works with pattern designs that seems to be geometric with repetitive patterns that he incorporates into his photographs of his subjects that may seem abstract. Page 189

Max Beckmann The Beginning (Fig.1) is an oil painting on canvas that measures 69x125-1/2 in. First titled "Childhood," the paintings meaning was based on Beckmann 's dreams and his past. He combined these into a dreamlike realm with an addition of imagination to create a relatable fairytale sequence. Using oil, brush and bright colors, he created three panels separated by bold white space. The left and right panel are the same size, unlike the middle which is much larger and contains more detail and various meanings. The three panels contained sex, innocence, and adolescence. Beckmann’s primary focus appears to be the various changes of a boy evolving into a man through a bizarre reality with imagery from his dreams.

Momaday was born February 27, 1934 in Lawton, Oklahoma. He was born in the Kiowa and Comanche Indian Hospital, and was then registered with having seven-eighths Indian blood. N. Scott Momaday was born of having a mix of English, Irish, French, and Cherokee blood while, his father, Alfred Morris Momaday was a full blood Kiowa. His mother was a writer and his father, a painter. In 1935, when N. Scott Momaday was one year old, his family moved to Arizona where both his father and mother became teachers on the reservation. Growing up in Arizona allowed Momaday to experience not only his father’s Kiowa traditions, but also those of the Southwest include: Navajo, Apache, and Pueblo traditions as well. In 1946, Momaday moved to Jemez Pueblo, New Mexico, at twelve years old and lived there with his parents until his senior year of high school. After high school, Momaday attended college and was awarded his Bachelor 's of Arts degree in English in 1958, from the University of New Mexico. After continuing his education at Stanford University, he received his Ph.D. in English Literature in 1963. With all of the culture he has absorbed over the years he has been able to learn how to build a bridge of communication between all the cultures he has lived with and learned about.