How Campus 's Installations Approach The Stage For An Event

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.

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

Many composers use various techniques in which they communicate the distinctly visual. John Misto’s ‘The Shoe-Horn Sonata’ and Alexander Kimel’s ‘The Action in the Ghetto of Rohatyn, March 1942’ represent significant issues in our world by using various literary and dramatic techniques. Through using these techniques it is evident that the composers of these texts allow the audience to ‘see’ with our eyes as well as with our minds. The many literary and dramatic techniques have the ability to create a visual that

“Vrrrrrrrr” sounds the fans cooling the projectors displaying video instillations of Terry Berkowitz “the last supper”. As I strolled into this gallery, I instantly thought of both “ted talks” we previously had this semester and how the artist we using rather unconventional means to portray their art. In visiting the Boca Museum Of Art I observed 3 specific pieces that tied into lessons I’ve come to learn more about in this semester.

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

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.

Visual opulence, creativity, inimitable vision, and a style that is highly influential are the many characteristics of an admired movement in art history, that being of the Post-Impressionism movement (1875-1892). This movement, which was a by-product of the Impressionism movement, is the bridging gap between the two movements known as Realism and Expressionism. Post-Impressionism takes on some of the stylistic characteristics of these movements; however, it does not contain the all too glossy visuals of Realism or the heavily fantastic visuals of Expressionism, rather it is the intermediary of these two poles. My paper will discuss why this link was absolutely essential to the history of art movements, and I will be specifically using the

It showcases the dense, extensive and delicate connections in the artist’s experimental practices, which includes performance, installations, prints, photographs, films and paintings. The show reveals the transgression with the thematically structured six main galleries with an impressive display of Parr’s diaries in the foyer, films in the theatre and the artist’s archive, ‘Information Centre’. According to Parr, he said, “But in the foyer, I must say, there’s this rather beautiful pop-up space, which is nearly confined entirely to language pieces, and outside this space on the curved wall we’ve got 40 beautiful vitrines..and I’ve displayed 45 years of diaries. So the foyer’s got all of this text, and it’s very intimate.” The diaries were a very clever idea that gave a lot of help to the audience in terms of better understanding of the

The exhibition is organized systematically and chronologically, as well as sequentially. Each segment has a title, supplemented by a detailed description which gives context to the content. This makes for easy transitioning through the various sections of the show. To the curator’s credit, the audience will find these descriptions extremely useful. Without them as a guide it would be difficult to keep track of the sequence in which the objects are organized. The personal accounts of the artist’s experience of the war are also useful. They add a context to the circumstances surrounding the artist during that time. Such a device strengthens the viewer’s understanding of the object being displayed.

Gunning goes on to define the cinema of attraction as “a cinema that bases itself on the quality that Leger celebrated: its ability to show something. Contrasted to the voyeuristic aspect of narrative cinema analyzed by Christian Metz, this is an exhibitionist cinema,” (Gunning, 230). It’s a cinema before narrative where the focus lied in testing the boundaries of what was possible with the medium, much like avant-garde today. It’s a cinema where narrative was always second, if even there, to the spectacle of what was possible with the medium. Lumiere’s Demolition of a Wall displays some of the possibilities of the medium quite clearly in its later half when the reel is re-winded to create the effect of the wall rebuilding itself. As Gunning reminds us, we should never forget that “in the earliest years of exhibition the cinema itself was an attraction,” (231). Cinema was defined by the machine instead of the films in this period, and thus the simple fact of being able to see moving pictures was itself astounding. Looking at Maxim Gorky’s first accounts of viewing a motion picture in his article The Kingdom of Shadows, he writes the “extraordinary impression it (cinema) creates is so unique and complex that I doubt my ability to describe it with all its nuances,” (Gorky 7). The people of the

Marina Abramovic is known for completely excluding using paint and canvas for her art. She is a performance artist, Marina uses her body as the medium between her and the audience. In her piece “The Artist is Present”, she sits with hundreds of people for several months without showing any emotion. Marina is simply present at the moment she is sitting with different people, while the person sitting shows tremendous feelings towards Marina. Marina has a gift of making people think she is in love with them. Her fans that were able to sit with her explain their time with Marina as life changing. She is the greatest living performance artist and that is why she is why she will be remembered as the grandmother of performance

This paper will explore a range of perspectives on the relationship between the live event and the document within performance practice, specifically focus on in relation to body, time and space. Performance art is commonly known as a performance presented to a viewer within a fine art context. Through performance artists emphasize the body’s role in artistic production. Historically, performance archive has been characterized as an unfaithful representation of the momentary art experience. Yet, in contemporary art the relationship between live performance practices and documentation has progressed towards reconciliation. Whether, the performance is scripted or unscripted, the performer’s body is present or absent. Performance art can happen in any type of venue and for any length of time. Documentation of performance practice documents the actions of an individual or a group at a particular place and in a particular time.

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.

In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).

In these works, there is also evidence of the nature of the technique, the presentation style and the response of the audience”(20).