Phip Murray’s art history writing, through which her lecture manifests, highlights a key concern for the advocacy of an early settler, Marcus Clarke’s, writing. In speaking through his work, she begins to deconstruct her approach in analysing art history, or more specifically art history writing.
Unassuming, Murray eases the audience into the content of the lecture. She begins with general interests sited across her writing. Enthused by the specificity of a place, culture and society at a point in time, she unpacks how she translates a history to an audience who have experienced a society and culture that is dissimilar in its respective displacement of time. Murray points to the use of ‘texture’ in her writing as a gesture used to the forge authenticity of a place in history. To the audience, it conveys an understanding that is closer to one of experience than scholarly. To Murray, ‘texture’ exposes readers to the voice and words, extracted from and specific to a place and society in an attempt to guide a nuanced understanding at that point in history. An accent that has evolved over time or specific to a class, a quote, an object or words that were common place, now seldom heard of, are a powerful tool in Murray’s writing to communicate what otherwise cannot be expressed. These moments, extracted from history, are inevitably experienced in the research of an art history writer. For the purpose of the reader, Murray intends to carry through key moments as what she describes ‘capsules’ of history in her writing.
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Usually moving through a consecutive unfolding of thoughts or events, she locates a point in history for her audience methodically. This is consistent with the structure of her verbal presentation, ensuring the audience is well informed at each turn in the
Written works are creative displays of human thoughts. Unlikely stories have captivatedaudiences that transcend generations. Essays have enlightened people and even sparked revolutions.Normal everyday writing has played a vital part in understanding the past, captivating the present, andshaping the future.Writing has been able to fill in the gaps of history. By analyzing primary sources such as old letters, andjournal entries, historians have been able to take note of details in particular time periods. Letters suchas Mary F’s letter (Source E) to her cousin provide specific details on the life of someone living on theprairie in 1863. The failure to preserve common writing, despite their simplicity, would cause history tolack perspective.Today
The primary focus of this exhibition is Archibald J. Motley Jr.’s Mending Socks, an oil painting created in 1924 currently located at the Ackland Art Museum. Depicting Motley’s grandmother across a 43.875 x 40 inches (111.4 x 101.6 cm) frame, Mending Socks exhibits a familiar setting complimented by bold colors. Such colors immediately draw the eye to the grandmother, then to the socks on her lap. One then looks to the table, to the fruit overflowing from the bowl, eventually falling on the background. Trailing along, Motley’s grandmother is the off-center grounding of the piece, proving a strong, soothing, and familiar image of relaxed family settings. Behind her, however, are subtle reminders of white power.
Distinctively visual is not just about images but also the power of language that enables composers to transport us to their world, specifically to the place indicative of the time during which the text was written. Henry Lawson’s collection of short stories in particular ‘In a dry season’ and ‘The drover’s wife’ and my related text, Art Spigelman’s graphic novel ‘Maus’ bring their unique ideas to life shaping and challenging our perspective and understanding of various human experiences of pain, suffering ,courage, resilience and perseverance ultimately bringing personal and social issues to life.
Throughout history, societies have defined and transformed themselves through their art. When looking at works of art today, a person sees not only the work of art itself, but also the world from which it came from. The same is true for this transformation mask, which reflects the works of art and beliefs of the Northwest Coast Tribes.
gallery space. However, it is the aim of a postmodern artist to step outside these
Students through the process of art appreciation will build connections through the exploration of textures, lines, colour and shape when describing, analysing, interpreting and judging the artworks before them (3 chosen images). They are asked to describe what they see, the artist’s use of colour, lines, shapes and texture. They then move onto analysing; what catches their eye, is the composition balanced and do the paintings look flat or do they have depth. The discussion then progresses onto interpretation where students are able to express what type of emotion they feel when looking at the pictures, perhaps the kind of sounds they might hear if they could step into it, and why they think the artist chose this particular subject to paint and what may have inspired the artist.
Required Text: Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, eds. Kristine Stiles and Peter Selz, University of California Press, 1996.
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.
The entire interview was intended to a specific audience – artists. Thus, ethos was a vital technique to establish the speakers’ credibility in their commentary about the art industry. Both Wiley and M.I.A are recognized artists in their particular fields. At the onset, their credibility as artists and thus, critics of the industry are well established throughout the interview. By narrating a wealth of experience in working with different artists from different countries, their thesis about the death of art in New York is strengthened. By reputation, both artists are multi-awarded. Wiley is a Yale educated portrait painter whose work has been cited for its unique fusion-style rendering of African-American men in heroic poses. He is recipient of the Artist of the Year Award from
She has a paper in front of her that had quite a bit of writing on it. At times she would read completely from the paper, other times she would look out at the audience and recite from memory. Her attire was casual, sporting a tie dyed shirt, and some jeans. This fit the event nicely, and made people relate to her more. She spoke into the microphone efficiently, ensuring the audience could hear her.
The secrets of the past have a way of shaping many lives. Griffin`s essay focuses on the idea of secrets by using various techniques to address this topic. Her essay uses an objective and indirect approach to guide the reader to translate the moments she records. Griffin does this by interviewing people to discover the past, providing descriptive reports of illustrations to promote a visual perspective, and ultimately the paintings are used to make the reader analyze their purpose. These methods are valuable because it promotes critical thinking and different points of views to tell the story.
During the second half of the course, a large chunk of time was spent evaluating aestheticism in the literary works of the Victorian era. The aestheticism in the works came in the form of either in artforms and in the way the work sounds. In the Goblin Market by Christina Rossetti, a paradox is presented in the way the poems sounds compared to the imagery given in the text. This paradox is so evident, when the Goblin Market was first published, many confused it for a children's story. Listening to the poem’s meter and rhyme scheme, that confusion is well justified, though the imagery embedded in the text suggest otherwise. I was at first also tricked by the sounds of the text before we looked into the imagery being presented, not realizing
This demonstrates that history was consumed in historical pageantry, to a certain extent. For instance, Frank Lascelles explored the process of remembering in his 1907 Oxford historical pageant, which was “staged on the banks of the River Cherwell and comprised 15 scenes covering 1,000 years of history of Oxford from St Frideswide.” Lascelles brought a distinctive use of visual spectacle in his pageant as many of the scenes consisted of “spectacular tableaux with no words.” This is particularly because Lascelles believed that pageants should be concerned with the “dramatic movement of masses’ of people in processions and dance, often in blocks of colour, rather than with ‘spoken dialogue which is often tedious in the open air.” While this was different from Parker’s representation of pageants of portraying history based upon ‘how things really were’ and ‘as they really happened’, Ryan argued “this technique was particularly effective for conveying the act of remembering as a dialogue between the past and the present”. Therefore, it can be argued that history was “just one more technology of memory, one of a set of techniques developed in order that societies might remember.” Although, this suggests that as Lascelles pageants visualised the past via allegory in order to remember, one can argue that it placed emphasis
In “Ways of Seeing”, John Berger, an English art critic, argues that images are important for the present-day by saying, “No other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times. In this respect images are more precise and richer literature” (10). John Berger allowed others to see the true meaning behind certain art pieces in “Ways of Seeing”. Images and art show what people experienced in the past allowing others to see for themselves rather than be told how an event occurred. There are two images that represent the above claim, Arnold Eagle and David Robbins’ photo of a little boy in New York City, and Dorothea Lange’s image of a migratory family from Texas; both were taken during the Great Depression.
“I was treading where academics cannot go because of the rigour of their discipline” (p. 10, l. 260-262). This combination of two such different ways to write allows her to bring back the voices of those who were left out of the historical texts.