Analysis Of Theodor W. Adorno 's ' The '

Distinctively visual representations allow the audience to envisage different purposes crafting emotions which stay with us forever. Graphic depiction is a fundamental characteristic within distinctively visual, thus the audience is able to be exposed to the intense illustrations exemplified by composers. Spudvilla’s portrayal of “Woolvs in the sitee” demonstrates the child’s inability to reconcile with himself. Contrasting to this notion; the playwright “Shoe-horn Sonata” to expose the brutal reality of POW camps during WWII. Therefore, distinctively visual forces the audience to succumb to the barriers society creates.

Every person strikes a breaking point at some point in their life due to some sort of issue that has occurred. These are the people that shape our world into what it is today. Kurt Vonnegut, a deceased but not forgotten writer that is known for his unique characteristics and eye-catching elements that create an unforgettable book, would agree with the fact that there are several things to love about life, but that we need to keep in mind that life is not a fairytale, meaning that you should not expect perfection in your daily life because perfection simply does not exist. In the story 2BR02B, Kurt Vonnegut conveys the theme the world is not always a bright place to live in by using different examples or external conflict,

The engulfing size of the painting (250.5 x 159.5 cm) drives the audiences mind into a hypnotic frenzy as they are overwhelmed by bright and sensual colours, which, have the ability to evoke deep emotions and realisations. Kandinsky has portrayed this through the disorientation of his own personal visions of society during the industrial revolution. The rough yet expressive outline of buildings, a rainbow and the sun gives reference to realism as it allows viewers to connect and understand underlying motifs and shapes yet is painted abstractly to move away from the oppressive and consumerist society. Thus, Kandinsky breaks boundaries through his innovative approach to his art-making practise concluded from his personal belief of ‘art for arts sake’. He believed that art should mainly convey the artist’s personal views and self-expressionism that translated a constant individuality throughout his work from an inner intentional emotive drive. This broke traditional boundaries as art in the renaissance period was meant to be a ‘narration’ or an artwork where an audience could learn and benefit from. This is evidently shown in Composition IV as it exemplifies Kandinsky’s inner feelings towards the industrialised society

In John Berger’s essay “Ways of Seeing,” he shares his view on how he feels art is seen. Mr. Berger explores how the views of people are original and how art is seen very differently. By comparing certain photographs, he goes on to let his Audience, which is represented as the academic, witness for themselves how art may come across as something specific and it can mean something completely different depending on who is studying the art. The author goes into details of why images were first used, how we used to analyze art vs how we do today, and the rarity of arts. He is able to effectively pass on his message by using the strategies of Rhetoric, which include Logos, Pathos, and Ethos.

Art is experienced best on an emotional level rather than just the beauty, pleasure or understanding of it. Artists will use their form of artwork to pass along their views and feelings. Teresa López’s and Wendy Ewald’s “The Phantom” is a piece of art that invokes many emotions. It simulates both the possibility of comfort or fear of the unknown and the anxious waiting of the known through its immaculate composition. This is done through its use of dense distortion and contrasting colors. Through distortion the artists get us to focus on the phantom that is the only source of light and the contrasting colors make us realize how contrasting our perceptions can be.

Non-conformist to traditional art forms, Conceptualism challenges the viewer to delve into the mindset of the artist. It is often seen as multidimensional as it forces the audience to decipher the artists intentions. This art movement has been completely rejecting the standard ideas of art since the mid-1960’s. Since then, many artists have made a name for themselves by self-consciously expanding the boundaries of art. Many of these artists have said they’ve linked their work to artist Marcel Duchamp.

The attempts by scholars to define Vonnegut’s style of writing lean toward the belief that his work may be modern, postmodern and postmodern humanist (Davis). Accordingly, following the postmodern lean, Davis describes Vonnegut’s fiction as “lies that enable a humanism of practice.” (Davis). Decidedly anti-war, Vonnegut refused to glorify his most hurtful memories of World War II. His writings took on a common thread of sharp wit and satire. Hilariously, he made fun of his world and attempted to teach a lesson regarding society’s quirks and highlight what he thought about society.

Art is an amazing form of expression, due to the fact that everybody expresses themselves differently, art can take many forms. From writing to paint to photography to abstract. No two pieces of art are ever the same, although they can be similar. Gustave Dore’s “Minos, Judge of the Damned” and William Blake’s “Satan Smitting Job with Boils” may seem very different, but they are indeed similar as well.

Beyond their connection to the affect and narratives constructed by the textual elements, little unifies the participants that construct and use particular memes. Therefore, each iteration of an image macro is representative of a particular individual’s understanding and identification with the meme. Jenkins’ conception of the mode rejects the suggestion that meme’s can represent particular viewpoints noting, “Deleuze consistently critiques the view of rhetoric as representation precisely because such accounts presuppose actual subjects who do the representing.” However, while memes should not be considered exact representations of static subjects, Deleuze notes it is still important to consider the processes of subjectification. Commenting

Arthur C. Danto in “The Artworld” provides us with the argument that, “To see something as art requires something that the eye cannot descry-an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Danto shows us the importance of the artworld in order to know that a work of art is more than just what we can plainly see. Danto provides two theories he calls the “IT” (Imitation theory) and the “RT” (Reality theory). With these two theories, Danto explains how we can define art and why “The Artworld” is needed to help understand art, because after all, “these days one might not be aware he was on artistic terrain without an artistic theory to tell him so.”

The artistic interpretation of such a life free from reality, a life devoid of egocentric and self absorbed thoughts towards a modern life, may be able to rebuild a new foundation and language for the spiritual society; for even if the new philosophies that are fabricated are fleeting issues, the artist still creates a reality where this is perceived and understood. As new theories percolate, the more it needs the aesthetic rendering, which goal is to reach the aloof in hopes of arranging modernity into a new meaningful way. The holistic perception of the artistic construct, in which it places emphasis while consolidating, begins to create a language for the unspoken and give meaning to the ideas hidden within it. What these ideas mean must still be broached through interpretation and is largely contingent on the level of reality manifested by the artist. While in the higher spiritual realms the artist asserts a reality that more or less understands itself, in the lower spiritual

This essay shall explore Joseph Kosuth’s argument that Conceptual Art requires art to shift from morphology to function; and therefore will investigate the meaning of this argument and how it has affected artistic practice. It will explain the importance of how this argument has changed the way the audience think about art. Subsequently it will outline several points of his argument and then expand and explore them in more depth. To define the artistic terminology used above, the term morphology is used to describe how a piece is constructed along with its overall aesthetics; whereas function is used to describe what is being said by the piece and the concept behind it. Conceptual Art emerged from abstraction and minimalism; it marked the end of modernism and questioned what constitutes art, having its own values separate from the rest of the world. A key source that will be referred to throughout this essay and which is regularly used for researching Kosuth’s argument is his 1969 text “Art after Philosophy”.

The Human Condition, or La condition humaine was two paintings created by Rene Magritte, one in 1933 and the other in 1935. Both contain many formal similarities, yet the main point of the painting is that there is a painting of a landscape, yet that painting perfectly fits with, or completes, the landscape, as if it was perfectly drawn. In this analysis, I will be analyzing Magritte’s first painting, made in 1933. Magritte’s works often include objects hiding behind others, such as with Magritte’s The Son of Man, where a man in a bowler hat is hiding his face behind a floating apple. Magritte does this also in the Human Condition, yet to express a different meaning. Magritte is one of the major spearheads of the surrealist movement, a type of modernism, in which the fabric of realism and definitions are questions. One of Magritte’s more famous works, The Treachery of Images, Magritte shows a picture of what obviously is a pipe, yet, written in French beneath the image, states “This is not a pipe.” This was the dawn of a philosophy which would take the western art world by storm, called structuralism/post-structuralism. This is the philosophy where ideas/words and their meanings can be flexible depending on the viewer or the circumstance. This philosophy believes in the subconscious identification with images/colors that people have with art. In Magritte’s Treachery of the Images, his statement that “this is not a pipe” can be interpreted in different ways. One could say,

In a ‘tradition breaking spirit’ [D’Alleva, 2012], that characterised modernist artists, early in the twentieth century, Duchamp abandoned traditional ideas and techniques, to create a new kind of ‘art’, one that the idea behind a work of art is more important that its visual realization, the ‘retinal’. The ready-mades was the product of Duchamp’s questioning what art is.

The second chapter overlooks a series of art movements such as De Stijl, Bauhaus, Enlightenment, CIAM, and the work of famous architect Frank Lloyd Wright. This chapter attempts to find their position on senses and the cultural memory. The authors