Analysis Of ' Ruination And Drosscape '

a. Jake’s overhead view of a damaged Berlin at the beginning of the novel is a good example of this; he sees decimated houses, “empty as ransacked tombs, miles and miles of them, whole pulverized stretches where there were not even walls” (9).

As she passes the ruins she recreates the pleasant things that had been there. Despite the reasonable arguments that her goods belonged to God and whatever God does is just, there is in the poem an undercurrent of regret that the loss is not fully compensated for by the hope of the treasure that lies above. (84)

In eight quasi-connected stories, Susan Vreeland delivers a fictional lesson on aesthetics. Set amidst human sorrow and historic chaos, the narrative follows an imagined Vermeer painting from the present day through 330 years of its provenance--beginning with its willful destruction in the 1990s and concluding with its inspired creation in the 1660s:

By year twenty, billions of the population are deceased and all that remains now of the world are wastelands that endure the memory of bustling cities and small dispersed settlements of the few survivors. Although nothing’s the same, Mandel sheds light on the artistry and allure of the simple things. Saying, “What was lost in the collapse: almost everything, almost everyone, but there is still such beauty” (Mandel 57). Talking about the scenery from nature and the production put on by the Traveling Symphony, Mandel subtly shows how it’s in our human nature to express oneself. Although nearly the entire population of the world was wiped out, art survived and remains in everything; unavoidably associated with human life, from the natural happenings of the environment to characteristics exhibited from people.

The Pompeii exhibition at LACMA was an astounding visualization of history. The exhibition provided all sorts of objects; from sculptures, glass figures, painted art, and more. These art pieces specify the kind of life that was taking place in the Bay of Naples during the second century. As we know the cities around the Bay of Naples, which include Pompeii and Herculaneum, became tourist attractions when the cities were excavated after they were buried from the volcanic eruption of Mount Vesuvius. However, the comprehension of how the art pieces made their way into the museum is just a little fact of the history behind them. With this exhibition we are able to feel like we are back in time and living in the exhilarating time of

Countless art has been sought-after throughout history. Explorers, scientists, art collectors, politicians, and entrepreneurs from Western nations have sought out and removed art from the lands of great civilizations, often with the assistance and participation of local people and governments. Even as cultural property faces immediate danger today in conflict zones like Syria and Mali, there is circumstantial evidence that some nations are awakening to the political and foreign policy benefits that can flow from the repatriation of cultural patrimony. While on a different scale from World War II, historic structures, religious monuments, and other priceless ancient times continue to suffer collateral damage and manipulation in armed conflict. Relics have been stolen, smuggled and sold in what is a reported multibillion dollar underground market. They have become the illicit prizes of private collectors and the subject of legal claims against museums. Of the countless museums subject to legal claims, The Metropolitan Museum of Art in New York City happens to be one of them. “The Metropolitan Museum has acquired thousands of works and objects of art from the antiquities”. “For the past several years, the government of Turkey has warned U.S. and foreign museums (including The Metropolitan Museum of Art), that unless ancient objects from Turkish soil are given up on demand, Turkey will stop lending artworks” (The Committee for Cultural Policy, 2015). Turkey continues to up the

If you’re anything like me and you see this painting of “The Rock” by Peter Blume (1944), you may wonder what in the world is going on in the picture. At our first look, we see the obvious; the enormous rock Peter Blume placed right in the center. After looking at the scenery going on, I think that the placement and size of the rock is proportioned that way as a sign of it being significant. The way I see it, the monument plays an important role when it comes down to determining why there are so many things going on at once in the painting. With the comparison of the details of the hard working people to the broken rock, half built building, and the smoke, I will establish the reasons of why this picture shows both destruction and loyalty- and the ways destruction in this painting also results in uniting the people working.

In this celebration, the Singer is called upon to sing a song named the Ruin Song. This song is about the history of their people. It talks about warfare and disasters, along with stories of smoky, poisonous fumes, the way building toppled and were swept away by the sea. The only structure that survived was the Council Edifice, which has patterned glasses of deep reds and golds. The Singer also owns a robe which gives a visual representation if what the song is telling.

What was once a beautiful but small lawn with grass is now a patch of dead grass with dirt exposing itself under the grass. What was once the creaky barn doors are completely destroyed, with broken glass on the ground on the outside, leading to the inside. What was once the living room where I had spent so much time watching television and playing games with my siblings, now has its carpet completely torn up, walls indented, and closet in complete shambles with light gleaming sharply through the holes of the closet from holes that were made by vandals who never knew the true value of the humble abode that I used to reside in. My old home, since being lived in by me and my family has since been abandoned by the family that we had entrusted the house to previously. Now the house just stays there, an eerie empty shell of what it used to be. A place where I was safe and happy, now a dark and scary place that no one deserves to live in, a place that humans have indeed used well, so well that there is nothing left of what it used to be. That image of the house was the last I saw it, back in 2010, It is possible now that the house had since been destroyed, with the memories that have been carved into the walls, fireplace, windows, closets, and bedrooms, are now nothing more but a blur of destroyed objects that will one day be removed, as people pass by the home that once was will never be able to see its clarity, but instead will only be able to see the blur of colors protruding from the exterior of the house, or perhaps the brown of the barn like doors, or the patches of green still rising from the dead grass that surrounds it, until eventually, it simply disappears completely invisible to the city that used it ever so

History has had an inarguable and behemoth impact on the trajectory of art and literature that it surrounds. Quite often, these mediums are a mere reflection of the artist's or author’s existence, and can be viewed as heavily autobiographical, regardless if the artist acknowledges this or not. In fact, many artists and authors will deny that their work is influenced by outside events, and wish to attest that their productions are sporadically born out of the creative abyss of their minds. However, this is absolutely false, since that mind is undoubtedly affected by external stimuli. Consequently, it is an undeniable premise that history changes the course of literature.

Art history: a useless pondering over sketches that have little significance to life, at least this is the notion held by many. Delving into art history is a slippery slope that requires more than any one person knows. James F. Cooper and Alan Wallach explore the considerations art historians go through to decipher the relevancy of artworks. However, James F. Cooper’s arguments retro and one-track minded, while Alan Wallach’s arguments on which artworks to pick apart, the methods to attack them, and the reasons people spend so long analyzing a piece of paper are far more relevant to today’s emerging standards.

In decadence, important is not necessarily what is seen, but the hermeneutics: what man feels when he sees the creative result of this feeling. It is the current that requires a co-operation from the public to the artistic work for the purposes of re-creation.

The Mexican tile roofs jump out at your eyes, until the gorgeous iron gates of other estates snatch your attention. I can at times be overwhelmed with the feast before my eyes. My favorite structure by far is the towering ruins of the old sugar plantation. The words ruins, sugar, and plantation alone are enough to conjure up the most fascinating stories within ones imagination. I can see the bones of an age past; still standing before me to mourn, and dream about. I live in a grouping of villas where a restaurant and pool facilities are being constructed. I smell fresh sawn mahogany as the carpenters make bars, counters, and doors. I hear stone masons chipping at tiles, and the scraping sounds as they pull out the mortar to lay them.

Throughout the vast history of art, historians can find connections throughout the centuries. Artists from the beginning of humankind have been inspired by the world around them. From the Apollo 11 stones to present day, history and culture have provided inspiration and have been the focus of various pieces. Examining artwork from the 15th-18th century, viewers can be shown a whole world that would be unknown to us without these artist’s contributions. History, religion, and cultural events have sculpted the art world, and we can observe this through many pieces during the 15th-18th centuries.

Buildings have lifespan, and eventually it comes to its end. A physical permanence of the building is paradoxical. ‘Everything ages: buildings and place weather. The process of deterioration of architecture is part of a natural evolution of elements, natural or artificial in the environment.’ (Hornstein, 2011, p.86)