Liz Larner creates art that has a presence and that shows instability. Her art is influenced by poetics. This is shown through the overlap in some sculptures as well as breakage in others. The art that she produces gives a sense of flow and completeness. Using instability as part of her work is something that brings a sense of change to her work as well as almost never using the same techniques. Her relation of her art work to real life shows her beliefs in the balance of reality and illusion.
At this point in the poem, the speaker’s attitude toward loss is rather blasé due to the fact that the items she has misplaced holds no emotional attachment and can be replaced.
Life involves many losses. There are small losses: losing a football game, failing a test, or forgetting an assignment. At some point, though, all of us will experience a major loss: the death of a close family member, a major illness, or a divorce in the family. Loss is inevitable for all of us. If you have ever experienced grief and loss, or if you are currently experiencing it, then you might be trying to recover the wrong way. You might believe that you have gotten over it, but it could come back even years later. When it comes to grief and loss, there are a lot of components that people do not understand, but today there are many methods to coop that will lead you down the path of healing.
In this essay I am going to conduct an “Australian Bushman” approach to analyze the art piece name Yo Mama’s Last Supper by Cox. Later on in the essay, I will include contextualization of the analysis.
This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their
Loss can mean something very different, depending on who you ask to define it and what their history is with it. However difficult the obstacle may be, Tim O’Brien’s words can help alleviate someone’s conscious, because he points out the importance of all those stories lived with that certain person or thing that was lost. Even with my personal losses, I can relate to O’Brien’s views of loss and the importance of all the memories of the lost thing. Loss would not be so impactful if it weren’t for all those sentimental memories and emotions that come with it. It’s necessary to sometimes remember the happy times lived before the loss, to slowly fill up the hole that it created in the heart. It’s true, losing something is rarely anything to be happy about, but if anyone has something that makes saying goodbye hard, they would be considered
Elizabeth Bishop was born on February 9th, 1911 in Worcester, Massachusetts. When Bishop was an infant, her father died from kidney disease, which provoked her mother’s mental breakdown and removal to a Canadian asylum. After her mother’s admission, Bishop moved in with her maternal grandparents in Nova Scotia, which became the setting for some of her future poems. Bishop was then taken back to live in Worcester with her father’s parents so that she could attend school in the United States. Bishop’s final move was in 1918, with her aunt and uncle outside Boston, where she lived until 1930, when she enrolled in Vassar College (Lombardi 6).
The Starry Night by Vincent Van Gogh is consistent of his typical artwork. He uses the lines free and loose making it an expression of his contour lines. The spacing between the stars and the curving contours making it a dot to dot effect. Van Gogh’s, The Starry Night” portrays his personal emotion. He writes to his brother about his painting almost as if he would be confused himself about the painting. The village is dark but at the same time it is peaceful compared to the dramatic sky life. In Sol Le Witts, Wall Drawing it uses an ordered form and symmetrical form called classical lines. The line Sol Le Witts uses is considered a connection between two separate points. Although
The image I chose for this paper is titled A Rose. The image is a painting painted in oil on a canvas and was painted by Thomas P. Anshutz. The painting was produced in Pennsylvania during 1907. I researched this image on ARTstor by using the term realism and then I narrowed down my search by selecting a filter to return paintings as well as setting the geography filter to North America. The painting belongs to The Metropolitan Museum of Art’s collection and is on display in the American Wing in the gallery of Images of Woman from 1880 to 1910.
In this poem Lucille Clifton is telling the experience she had when she had an abortion. In the title she announces directly what the poem is about. The fact that she uses the adjective ‘lost’ gives the impression that it has not been done on purpose or that she was not aware of what she was doing.
My experience with loss with comes from p.56 when the author talks about when we first come into life. “We enjoy being held, and then we’re suddenly put down.As we get older,we lose our friends when we or they move away, we lose our toys when they break or get lost, and we lose the softball championship. We have our first loves only to lose them. And the series of losses has just begun.”(pg.56) I think everything the author said spoke out to me especially “And the series of losses has just begun.”(pg.56) I even remember at a young age playing little league and wanting to win every game to end up either losing or winning sometimes. As a kid you think everything is perfect that your parents always have your back. I’ve seen it first hand my nieces and nephews just like any other 4 and 5 year old and maybe even older kids still believe this that their mom and dad are invincible can't die that they are forever living. However when you get older your youth is robbed from you, you slowing start to realize that everyone has their time even your own parents. Growing up for me loss was everywhere I lost two of my best friends because I had to move. Come to find out one
Elizabeth Gower is a Melbourne based collage artist. She uses printed packaging and other familiar household detritus as her source material to create works of intricate geometric patterns. Her small and delicate new work, Cycles and Matrix, invites closer inspection in the Sutton Gallery’s simple unpretentious space. One is mesmerized by the repetitions and multiplicity of the layering of discarded junk materials, transforming the chaotic waste material of the 21st Century into ordered beauty.
Her diction is strong, confident, and unweathering. In the second stanza, the speaker introduces the first item that isn’t difficult to lose and reminds readers of the daily life hassles of finding lost keys. This is the first example of something in life that is easily lost for her. She further backs it up her original statement by saying that their intent is “to be lost” (3), saying that things are meant to be lost, no matter what happens. She instructs the audience to “lose” and “accept” (4), which suggests that she has gone through loss before and it would be better to accept losing things since it would not hurt as much. She then instructs the audience to “practice” (7) losing, so her heart will not be crushed when the audience is accustomed to losing. By line 6, the speaker gets frantic. Her words become careless and the words take a sort of rhythm. She says “losing farther, losing faster”. The alliteration in this line emphasizes how much and how fast she has lost that it is in a place so unreachable at this point. She then loses “places, and names, and where it was [she] meant / to travel” (8-9). She lost more important things, but they were bearable.
When telling someone else’s story – perhaps even one’s own – it is hard not to do so from a certain perspective or position. Two recent films whose subject is the poet Elizabeth Bishop provide examples of distinct storytelling approaches: the first, a documentary with a particular political slant; the second, a semi-fictionalized biopic that is a little fast and loose with facts and chronology.