Arthur Modley Essay

William H. Johnson was a successful painter who was born on March 18, 1901 in Florence, South Carolina. Johnson began exploring his level of creativity as a child, and it only amplified from there because he discovered that he wanted to be an artist. After making this discovery he attended the National Academy of Design in New York which is where he met his mentor Charles Webster Hawthorne who had a strong influential impact on Johnson. Once Johnson graduated he moved to Paris where he was exposed to different artists, various artistic abilities, and evolutionary creations. Throughout Johnson’s time in Paris he grew as an artist, and adapted a “folk” style where he used lively colors and flat figures. Johnson used the “folk” style to express the experience of most African-Americans during the years of the 1930s and 1940s.

The illustration that Phillis Wheatley portrays in history is an African-American woman who wrote poetry. Her life goes more into depths that what is perceived, however. Phillis Wheatley uses her poetry as a unique way to get out the truth. Through poems such as On Being Brought From Africa to America and the poem about Lee, she made statements about was what going on at that time; a revolution. Phillis Wheatley was known as a revolutionary mother, for she gave hope to slaves, ease to whites, and was an influence to America. She was not known for conflict or trying to start an argument, but she more known for personalizing her thoughts onto a piece of paper, read by all of America. Her ideas were used as an influence during

Phillis Wheatley was the the first African American writer to have her books published in the United States. Poems on Various Subjects, Religious and Moral written by Wheatley was viewed as a model for the importance of education with religious aspects, as it was often seen throughout her poetry. Formulated mainly of neoclassical elegiac poetry, Poems on Various Subjects triggered several discussions concerning the length to which Wheatley can be deemed a minor poet or whether she wrote to express politics and moral trouble.

The Black Arts movement refers to a period of “furious flowering” of African American creativity beginning in the mid-1960’s and continuing through much of the 1970’s (Perceptions of Black). Linked both chronologically and ideologically with the Black Power Movement, The BAM recognized the idea of two cultural Americas: one black and one white. The BAM pressed for the creation of a distinctive Black Aesthetic in which black artists created for black audiences. The movement saw artistic production as the key to revising Black American’s perceptions of themselves, thus the Black Aesthetic was believed to be an integral component of the economic, political, and cultural empowerment of the Black

In the Medieval Period, knights dedicated their lives to following the code of chivalry. In Sir Thomas Malory’s Le Morte d’Arthur, a number of characters performed chivalrous acts to achieve the status of an ideal knight. Their characteristics of respect for women and courtesy for all, helpfulness to the weak, honor, and skill in battle made the characters King Arthur, King Pellinore, and Sir Gryfflette examples of a what knights strove to be like in Medieval society. Because of the examples ofchivalry, Le Morte d’Arthur showed what a knight desired to be, so he could improve theworld in which he lived.

One the most distinguished artists of the twentieth century, Jacob Lawrence was born in Atlantic City and spnt part of his child hood in Pennsylvania. After his parents split up in 1924, he went with his mother and siblings to New York, settling in Harlem. "He trained as a painter at the Harlem Art Workshop, inside the New York Public Library's 113 5th Street branch. Younger than the artists and writers who took part in the Harlem Renaissance of the 1920s, Lawrence was also at an angle to them: he was not interested in the kind of idealized, fake-primitive images of blacks - the Noble Negroes in Art Deco guise - that tended to be produced as an antidote to the toxic racist stereotypes with which white popular culture had flooded

     When people talk about J.P. Morgan, they often refer to one man. The J.P. Morgan dynasty was in fact a combined effort of three generations of Morgans. In 1838, American businessman George Peabody opened the London merchant banking firm that would establish the roots of the House of Morgan. In 1854, Junius S. Morgan became the partner of George Peabody and eventually took over the firm in 1864, renaming it J.S. Morgan & Co. At the age of twenty four, J. Pierpont Morgan inherited his father’s business, renamed the business to J.P. Morgan & Co., and made a point to consolidate the firm’s American and European interests. Under Pierpont’s authority, J.P. Morgan

Lorraine O’Gradys’ unintentionally historic performances, seemingly elevate everyday life to the status of art. In her ‘exhibit’ at the Studio Museum, her work is represented through photographs, in ‘Art is…’. Thirty years ago, O’Grady presented ‘Art is’ in the form of a float in the African American Day Parade right here in Harlem. Performers pranced with empty frames, metaphorically capturing fleeting pictures of the people and places that surrounded the route of the parade. By doing so, the trappings of high art were brought out of the museum, into the street, which promotes a new way people might begin to recognize this new art form in the celebrations of every day life. The

The State Action Requirement is a condition of law deeming that in order for an individuals rights to be violated, it has to be by a member of or someone acting upon behalf of the State. In Thomas Pogge’s essay he argues that the SAR is a reasonable condition, while Catherine MacKinnon argues in her work that the State Action Requirement excludes women’s suffering because it does not fit within the realm of SAR. Pogge believes that rights violations can come from the State’s own acts of disrespect, and also they can come from the State’s inability or refusal to act in certain situations. MacKinnon believes that there should be not State Action Requirement, because it systematically ignores or disregards women’s suffering under the guise of not seeing gender (in order to indiscriminate), which results in crimes against women being seen as inevitable of the state of their nation or just things that happen because of their gender. The State Action Requirement can be useful in certain situations, but it is not of my belief that it should be mandatory for any human rights violations, as violations occur every day around the world and because they are not committed by a State agent, they are not seen for what they truly are: violations of the rights of groups that are in no position to defend themselves. Because of this, through looking at both author’s assessments of the SAR, I have to agree with MacKinnon that the State

Towards the end of the 1930s, the United States government was preparing itself to progress from one despondency to another. Because the Great Depression was nearing its final months and the threat of becoming involved in the European war continuously intensified, it was decided that substantial amounts of energy, along with an ascending budget, was to be focused on developing military boats that could haul soldiers from ships to open beaches. In New Orleans, Andrew Jackson Higgins was known for manufacturing Eureka Boats, or shallow-watercrafts that assisted in the exploration of oil and gas throughout the Louisiana bayous. After many failed attempts Higgins was able to adapt his design

to use jazz rhythms and dialect to depict the life of urban blacks in his work (The

A notable artist Archibald Motley Jr. sought to challenge this theory by creating portraits of cinema and minstrel characters. Motley did not feel his depiction of Black culture should be limited to a single body of “Middle Class” intellectuals to come to a decision on if it’s proper look for Blacks in America. (Colored Pictures) Motley sought to create a variety of African American images. Motley, a Du Boisians, called for a broader view of Blacks in America. Artists as James Porter disagreed with that view felt Negros should be seen one way. Often considered "Father of African-American Art History," James Porter sought to create positive images of blacks by only showing them in a morally upright ways and situations.

Martin Smith is newly employed in Greenlane Group, a top venture firm. Mr. Weatherstorm, his senior partner gave him three proposals to assess and evaluate. Martin’s task was to make a presentation about the advantages of the three data communication companies and come up with a credible recommendation on which of the proposals should Greenlane Group choose?

Rather than his usual bright blues that contrast against sunlight yellows, Harlem Streets carries a rather negative essence. The brushstrokes overall reflect the rapid and quick paced life of the city, while the focal of the composition lays in the foreground where a young African American boy must choose which side he will choose

Exactness is equivalent to different frameworks, for example, MTM, MSD, and Work Factor, Up to twenty gages in one day are discovered, the ordinary boss can learn MODAPTS and how to figure benchmarks, and the typical laborer can fathom MODAPTS. The examination was driven by the Israel Institute of Technology on the fastness of different work estimation structures. Results show that MODAPTS is twice faster than MTM-1 and Work Factor on errands with process terms of one minute or lower. It is around twenty-five snappier than MTM-2 and time mull over. MODAPTS is seen by the U.S. Division of Labor as a favored structure for developing sensible work measures for rebuilding workplaces. MODAPTS fits in with MIL-STD 1567A, judgments made by the