Che Guevara Simulacralised Image

However, to further implement how magical realism constitute how this painting is conveyed, the exact meaning behind this trait must be explored. Magic realism is described by a twist in the usual conventions and shows a more fantastical interpretation in the

The appreciation of art: taking in what is in front of oneself by analyzing the many facets that are intricately placed in a sculpture, painting or anything that is to be considered art; within this paper will be explained the three subjects, analysis, content, and function of Volaire’s work on The Eruption of Mount Vesuvius that allow one to have a true appreciation for the arts. It is through these three subjects that one can see how valuable art truly is. Without these subjects all is lost and the woman without a grasp of them is ignorant of a great chunk of the world around her for it is indeed true that art is all around us. The artists that paint, and sculpt, see this natural beauty and replicate it through the many mediums available to them, giving us eternal beauty that can be held onto forever. Volaire has done that with his piece dealing with Mount Vesuvius.

When studying artists, styles of art and their respective time period, it is always important to find a few key artists that were responsible for the rise of new art trends. Traditionally, art has often a reflection of the most important elements within its respective time period, such as wars, religions, royalty, culture and expression. This is why the study of art history is needs to look deeper than simply understanding how certain artworks were created. Among the various artists studied in the course, Andy Warhol is definitely one of the most influential. Far ahead of his time in thinking and talented in several media forms, Warhol was a product of his time and defined his era with the use of his artwork, giving rise to other artists within the same time period. This paper will argue that Warhol was not only an influence to modern art, he defined the concept of "pop art", which combined consumerism and pop culture, creating works that questioned the norm of society at the time, while providing a strong influence to future artists. Warhol was hugely successful in his artistic efforts and several of his staple works will be discussed in regards to its significance and representation of its respective period of time, as well as Warhol’s influence on the history of art.

America’s infatuation with labels was a relatively new trend in postmodern society. Andy Warhol’s “Silver Liz as Cleopatra” as well as his other pieces impacted societal views on modern art in relationship to value. Warhol had a strong belief that the loss of something in replicating an image was over powered by something of new value being created.

Berger highlights this difference by giving examples of Mrs. Siddons by Gainsborough and Andy Warhol’s Marilyn Monroe which, although have outstanding elements of a painting but fail to be ‘objects of envy’.

Finding a rock off the ground. All the other rocks around and you chose that rock. Why? The aura of the rock attracted you, its size color or other aesthetic feathers. All objects have an aura, and it is artist duty to interpret and relay this aura to other people. As artist we should understand the objects and materials we choose to use could affect our work greatly. For example, if one wants to show weight, you could draw a picture of a scale or you could get a huge pile of concrete. Both show the same thing however to two totally different ways.

Walter Benjamins' thesis deliberates the way people as a whole perceive 'change' with social changes thus giving insight into how human sensory perspective is not absolutely biological or natural, but is also historical (Robinson, 2013). Transformations of art can be seen as an effect of changes in the economic structure in line with Marxist approaches of art resembling economic production (Benjamin, 1936; Robinson, 2013). According to Benjamin (1936), works of art historically had an "aura" which can be described as a supernatural space or mythological force arising from uniqueness, inclusive of a sensory experience of distance between the audience and the work of art (Gina, 2008; Robinson, 2013). However, the term aura can be best used to

Although art had nothing in common with the popular culture, the interplay of the two was becoming more obvious, while “critics have insistently connected the two, usually by opposition.” Different sources of influence were making people more aware of the ways that some issues can be compared or contrasted, while “In the classic Marxist view, history was a forward-marching dialectical struggle between opposed interests.” The opposite interests of the “fine art” and art of “everyday crap” cannot be compared in their historic value in terms of the ways they were perceived by the contemporary audiences, they still could be compared in terms of their perception. The perception of the “fine art” is still the same as many centuries before this moment, making people appreciate the colours and lines, structures and techniques, while the modern art came into straight opposition to the issues valued in the past. At the same time, the perceptions made “fine art” stand out as opposed to that of “everyday crap,” which could only rely on whether it is favoured by the audiences, sold and bought at galleries, and used in other interdisciplinary

Sturken and Cartwright dedicate this part to postmodernism and its visual culture, postmodern subjects and postmodern reflexivity and identity. The chapter starts with the part about a Chinese movies and authors use it as a simulation of reality. The relationship between model and real social territory has been examines in this chapter. The main characteristics on postmodernity is the tension and envision. Simulated pictures and images of reality are the creator of visual media so postmodernism carries characteristic of the interaction with those.

Ernesto Guevara Iconic Status Aged twenty-four, Ernesto Guevara pens a regular letter home to Rosario, Argentina from his flat in Mexico. It concludes: "Things are moving with tremendous speed and no one can know, or predict, where or for what reason one will be next year"[1]. This, perhaps, is one indication of the mans legendary appeal - not as a hero of socialism or political ideologist, but as a free-spirited and non-fictitious adventurer. After all, how many of us could end our letters with the same thrilling poignancy, at any age?

It is hard to travel anywhere in the world without seeing somewhere the iconic image of Che Guevara on a T-Shirt, souvenir, or poster. The original photographer, and the Irish artist who turned that photograph into a print, are virtually unknown. However, their image has been redistributed to the point where it can effectively be called an icon or a meme. There is no small amount of irony in the fact that an icon of communism has become an emblem of capitalism: as the image has been bought and sold countless times in countless countries around the world. The iconic image of Che Guevara has a hipster chic to it, but also political panache. To don the Che Guevara image means one does not agree with the establishment and is part of the 99%. However, Che Guevara is a controversial figure too. The image has been banned in some parts of the world, because Che was a radical revolutionary who was not against the use of armed uprisings in communist revolts. Therefore, the iconic Che Guevara image created first in Cuba and turned into pop art by an Irishman is a paradoxical and typically postmodern cultural meme.

While reading the article, “The Work of Art in the Age of Mechanical Reproduction” by Walter Benjamin, it is clear to grasp the idea being portrayed. The author is determined to prove to his readers how the advancement of humanity has led to drastic changes in how we create and perceive artwork. Mechanical reproduction of a work of art, however, represents something new. Historically, it advanced intermittently and in leaps at long intervals, but with accelerated intensity. One of the questions brought up in the article is: Has the aura of art been altered through its mechanical reproduction? Walter Benjamin offers several strong examples to describe exactly what aura is and how mechanical reproduction drastically alters this deep sensation in original artwork. Moreover, he includes two key concepts of ritual and tradition throughout the article. The author does a good job of explaining how the mechanical reproduction of artifacts can negatively influence the traditional form of fine art. In other words, art was simply a craft that was man-made before we had the ability to duplicate it. The custom of creating art was considerably altered when mechanical reproduction started. Hence, the original or “traditional” way of producing fine art was completely changed. Secondly, Walter Benjamin uses the concept of ritual, which he has also clearly defined within his article. Using context clues, we can deduce that he believes the aura of any art is never disconnected from its

In my art history class, we studied Rome Reborn, a 3D digital model of illustrating the urban development of ancient Rome. I thought it could be tied nicely into our understanding new media, more specifically how the use of virtual reconstruction methods and the technologies are cultural and historical customs. A virtual reconstruction, as a simulation, could be seen as accurately imitating the past and it may also be comprehended as a model constituting a hyperreality. These two perspectives are regarded as opposite ends of a spectrum in which the comprehension of a simulation sways due to the embedded conventions of realism. While not arguing a fixed position, this paper argues that above all a simulation should be

Simulation:With the advent of ‘realistic’ media (photography, film, sound recording, TV, digital media) it has also come to refer to an audio- visual experience that artfully mimics but otherwise has no connection with the reality it presents. It is the notion of a kind of copy which is not merely indistinguishable from what it copies, but in which the very distinction between copy and original disappears. Simulation threatens the difference between the true and the false, the real and the imaginary. Simulating is not pretending. It is replacing the reality

Accessing the “real” has been a central question of all art and philosophical movements since Aristotle and Plato. Two influential movements in art—Romanticism and Realism—offered different interpretations of the “real.” In a reaction against the Enlightenment thinkers, Romantic artists viewed the “real” as an individual’s emotional reaction to an experience. Realist artists strived to portray a literal reality in response to what they saw as a skewing of reality in Romanticism. For them, the “real” consisted only of what the artist could see and was largely absent of symbolism and metaphorical meaning. Some of the most influential artwork, however, comes in the transitional time periods between different movements because it provides insight into the ebb and flow of these distinct artistic styles. This is especially clear in The Raft of the Medusa, painted at the beginning of the Realism period, and The Painter’s Studio, painted at its end. The paintings’ favoring of a “third way” definition of reality remains important because it heavily influences our current definition of “the real.”