Cruzando El Caderas Analysis

Recently in my AP Spanish class I read a sonnet that really made me reflect upon my life because of its meaning. The poem was called “Mientras por competir con tu cabello” by Luis de Góngora. In the sonnet the author points out the beauty of a woman and her characteristics. He explains that she should be grateful and value her beauty while she still has it. Luis de Góngora emphasized the theme of “Carpe Diem” which translates to “seize the day”. His message was about how we should enjoy the present moments in our lives instead of wasting time on worrying about the future. Now of course our future is important as well; but, the meaning of “Carpe Diem” isn't to completely forget about our future rather to take chances now than waiting until later

The term "Botero" has become something of a generic word. In the popular conception, a "Botero" is a man or a woman - or any other animate or inanimate thing - possessed of large, rounded proportions. There are "Botero forks" and "Botero cats" just as there are "Botero women" or "Botero children". For many, the concept of "Botero" represents a celebration of sensuality or a reveling in voluptuousness. However, through international exhibitions along some of the most famous streets of the world's largest cities, his paintings, drawings and monumental sculptures have become so well known that their often complex meanings, in many cases l have become all but obscured.While Botero's art is tangibly present as an indispensable part of popular visual culture in the Western imagination, its deeper references and the processes of its creation have become camouflaged by both its highly visible public profile and its commercial appropriation.The art of Botero must be read on a variety of planes. The levels of meaning unfold when scrutinized under the lens of both his historical development and the intentions of the messages that his paintings, drawings and sculptures convey

Tomas Rivera was a Chicano author, educator, and poet who was most known for his 1971 novel ..y no se lo tragó la tierra. Until the age of twenty-two, he worked alongside his parents as migrant workers and his early life inspired him to write this novel. His life ambitions to give Mexican Americans an opportunity for higher education and writing came true by donating to the Chicano Literary movement. Through the fictional book, ...y no se lo tragó la tierra, Tomás Rivera tells the story of Mexican American migrant workers from the 40’s and 50’s. Made up of fourteen short stories and thirteen vignettes, the book contained a story, The Children Couldn’t Wait, that documented a day in the lives of Mexican American children working in the field.

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

13) (Sillevis, 2006, p. 70). Fernando Botero aims to transform his subjects into “still” life devoid of character and personality (SULLIVAN, 2000, p. 98). Instead, they are deformed and reshaped to express his artistic views. Fernando Botero’s inspiration for neutral, emotionless paintings comes from his admiration of ancient Egyptian statues and hieroglyphs that never seem to look at the observer and that “contemplate the void.” This feature is clearly pronounced in Fernando’s painting “Figure 4 - Una Familia (1989)” and multiple other portraits. His works also include inanimate objects such as oranges, tables and animal carcasses with the same concept of volume applied to them. (See Figures: “Figure 5 - Still Life with Coffee Pot (1977)Figure 6 - Still Life with Orangeade (1987)Figure 7 - Still Life with the Head of Pork

Jose’s father had always mainly worked construction jobs with other undocumented immigrants and Jose joined his father’s line of work because there were not many jobs available to him and he felt obligated to contribute to the family, “A second feature of the Hispanic American family is the emphasis on cooperativeness and on placing the needs of the family ahead of individual concerns” (Manning & Baruth, 2009, p.170). Jose dreamed of going to college and pursuing art or graphic design but even these simple goals were out of reach for him because of his undocumented status.

With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.

As a placebo for a changing guard, La Virgen de Guadalupe proved highly successful. The iconic image of La Virgen de Guadalupe remains static in both form and symbolism until the mid twentieth century, when a new movement among Mexican-Americans emerges in California, dubbed the Chicano movement. As visual propaganda becomes a large part of the movement, a significant body of art with common themes and styles, known as Chicano art, follows. This shift in subject matter among Mexican-American artists toward a specific social and political agenda began earlier, as evidenced by the work of Rivera, Orozco, and Posada, but, it isn’t until the mid 1960’s that national or religious iconographic images are recycled to support a larger political or social agenda.

The story of Enrique is fundamentally a story that stirs the emotions. While we may find reasonable the logical arguments laid out by the Nazario’s sources, and while Nazario’s ethos is backed by extensive notes, the tale is fundamentally an anecdotal account in the larger debate over immigration. Its appeal is pathetic in that it viscerally shows the life and travails of an immigrant from Central America, following the protagonist through drug addiction and beatings, danger and deportations, poverty and exploitation, and finally the thorny reunion with his mother. Nazario intentionally writes an engaging adventure (or misadventure) story using a third person narrative instead of focusing on Enrique’s own words. The writing and organizational style of Enrique’s Journey walks a thin line between ethnography and creative non-fiction, a choice that deliberately increases the emotional and imaginative appeal.

“If you move, I’ll kill you. I’ll break you in two” (Nazario 87). Enrique’s Journey, a nonfiction book by Sonia Nazario, painstakingly follows the trek of a young teenage boy’s treacherous journey to the United States from Honduras. At the tender age of five, a horrified and confused Enrique watched his mother Lourdes walk away from him and onto El Norte, The North. Eleven years later Sonia Nazario, a project reporter for the Los Angeles Times, traces each bitter step of Enrique’s gruesome and long expedition to reunite with his estranged mother. A novel for the ages, Enrique 's Journey allows for insight into the plight of millions of individuals that cross the border illegally due to life circumstances. This fast paced novel and this critical analysis paper depict and explain a problematic and undeniable issue polarizing the Western world: illegal immigration.

A common theme in this short reading is the unsettleling feeling that Jose Antonio has during his life in the U.S. regardless of the age or political environment he is in. At some point he gets recognition from the renowned Washington Post, giving him an offer of two years of paid internship once he graduated. He did just this and even in a dream work scenario he still felt so uncomfortable with his position as a “citizen” that he told his new peer and part of management, Peter. Jose Antonio goes out to say that his “anxiety was nearly paralyzin” and he felt as though he had an “illegal immigrant” tattoo on his forehead.

Enrique’s Journey is the story of one young man’s odyssey. To demonstrate his journey of immigration, Nazario began a five year investigation into the lives of migrants traveling to the United States from Central America. In order to expose society to her work, she chose to retrace the steps of one child’s journey to freedom. By centering her book around Enrique, she maintains the journalistic freedom to explore questions of immigration without losing hope.

Built in 1989, this sculpture is a fine piece of art, as it commemorates the hundreds of thousands of immigrants who travelled across the southwestern border from Mexico into the United States looking for a new start and a life of higher quality post World War II. This single sculpture is of a man crossing the border while carrying a woman on his shoulders. Something that cannot be caught in the first glimpse, but has to be deeply looked into is that fact that the woman is bearing a crying infant in her arms, sheltering the child from harm, which relates to the situation.

It is not surprisingly that some art is controversial due to the fact that everyone reacts to art differently. People can feel a wide variety of emotions when looking at art. In some situations, the viewer does not always like the piece of art or agree with the message that the artist is portraying. An artist that is known for an extremely controversial piece of art is Guillermo Vargas. Vargas’s piece entitled “Eres Lo Que Vees,” which translated to “You Are What You Read” in English, is controversial in multiple ways.

Our world is full of so many grandiose monuments, eye-catching sculptures, and stunning statues, each having an individual story to tell. Thousands of them have been created however, only a small number of them are actually extraordinary and picture-worthy. This paper will compare and contrast two of those picture-worthy sculptures. Furthermore, I will examine the aspects of each of these sculptures. I will compare and contrast what each of them represents, the differences in texture, their size and their tone.