Matt Groen: An Analysis

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.

As we know, the result of “Art is” is “Art is” which returned in an ephemeral form at the Studio Museum. All forty photographs are on display on the basement level of the galleries, which are supposedly reserved for pieces in their permanent collection. The room just outside, whether coincidentally or not, is filled with photos of students - reflecting personal memories. How the museum decides to play with this, is by missing them with old-timer photos of Harlem from the

The museum believes in a pastiche and populist pathway, in which the history of all people is displayed. Its interactive viewpoint allows this museum to convey history in a way that would be more accessible to its audience. For example, patrons are given the opportunity to record their own history. However, academics, such as Keith Windschuttle, assert that the NMA is a “profound intellectual waste”. He argues that although it displays accurate history, it’s purpose of entertaining its audience detracts from its value, thus creating “waste”. Although Windschuttle’s view may be extreme, it demonstrates the considerable extent to which the tension between academic and popular historians exist.

* Through the postmodern frame of reference, explain how artists have appropriated historical artworks. How has the artist incorporated parody and wit into the work? In what way has the artist questioned the values implied in the original artwork?

My Name's Matt Mader, and I am a student in Daniel Hand High School. I constantly like to challenge myself both in school and out of it. I am currently working on my Eagle Scout Project, and am on the Cross Country, Indoor and Outdoor Track team.

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.

In the first example, Wolfe uses the American artists in the Japanese museum The artists were surprised to see that their work was considered to be from the “Manual Age”. The Japanese students and the digital artwork of that time had surpassed the traditional drawings from the artists. This is a prime example of our world being ever-changing, especially in the area of technological advances.

On September 28th, I attend the “Artful Conversation: ‘Bridge and Tugs’” event at the Georgia Museum of Art. At the event, the curator, Carissa DiCindio facilitated an in-depth conversation about Jonas Lee’s painting, “Bridge and Tugs.” We began by looking at the painting and discussing what we saw with the others and then after a while we were instructed to find a new seat. After finding a new seat we received a pencil and a small sheet of paper and Ms. DiCindio asked us to sketch the painting to the best of our abilities. Afterwards, she asked us again what we noticed about the painting. Many people noted they had noticed new details within the painting while sketching, and others stated that simply changing their position in the room had

The article “The financially sustainable university” by Jeff Denneen and Tom Dretler, speaks about the financial crisis that institutions face and outlines areas of concern that colleges need to focus on to make the change to becoming financially sustainable. Colleges and Universities have been the foundation of economic prosperity and the key to realizing the American dream (Denneen, 2012), however; the increasing tuition rates and student loan debt continues to plague them. There was a time when tuition increases were passed on to the students, however; no longer are students and their families in a position to fund their education as in the years before. These economic factors have made innovation and change necessary to survive (Denneen, 2012).

Philosopher Arthur Danto, author of “The Artworld,” an artistic criticism, states that “to see something as art requires something that the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld” (201). Artistic theory, according to Danto, requires the presence of a subject, style, rhetorical ellipses, and that of historical context. Danto is capable of developing this view on art with the aid of an imaginary character, Testadura. Testadura, however, makes mistakes, as well as corrections, about the objects before him.

Positioned alongside Central Park within the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museums, especially one as influential as the Met, inherently predisposes its visitors to a set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within a museum. By analyzing two separate works on exhibit at the Met, I will pose the argument that museums offer a unique expression of a world view that is dictated through every element of its construction.

time to visit museums. When public art is funded by the government, the artist’s imagination is

In Dave Margoshes’ free verse poem, “Note to Self” published on June 30, 2015 in the online literary journal, The Rusty Toque, the speaker is writing down their daily to-do list. Margoshes allows the reader to delve into a piece that combines intimacy with the bluntness of the simple language used. The varied word choice and syntax describe the character behind the writer of the list. In combination, the use of repetition emphasizes key elements in the relationship with the lover. Finally, the structure is used to contrast specific details revealed with vague ideas presented. Using these devices, Margoshes creates an image of how this individual lacks sensitivity and understanding of the sanctity of a relationship by turning it into just another thing-to-do.

On Thursday I took my personal field trip around campus to observe the permanent sculptures as well as the ones on tour. I really enjoyed looking at both but I personally felt that I enjoyed the permanent ones better and that is what I will write about in this paper. The permanent sculptures resemble students and faculty at Western Michigan University. In contrast, the sculptures on tour did not relate so much to the students or campus as much but they did relate to the state of Michigan. While I was observing the sculptures, I did have one favorite and that the was Dunes because it painted an accurate illustration in my head when I was observing it. I decided to take my personal field trip in the morning instead of in the afternoon

For over two thousand years, various philosophers have questioned the influence of art in our society. They have used abstract reasoning, human emotions, and logic to go beyond this world in the search for answers about arts' existence. For philosophers, art was not viewed for its own beauty, but rather for the question of how art and artists can help make our society more stable for the next generation. Plato, a Greek philosopher who lived during 420-348 B.C. in Athens, and Aristotle, Plato’s student who argued against his beliefs, have no exceptions to the steps they had to take in order to understand the purpose of art and artists. Though these two philosophers made marvelous discoveries about the existence of art, artists, and