Mimmo Paladino's Dormienti

By year twenty, billions of the population are deceased and all that remains now of the world are wastelands that endure the memory of bustling cities and small dispersed settlements of the few survivors. Although nothing’s the same, Mandel sheds light on the artistry and allure of the simple things. Saying, “What was lost in the collapse: almost everything, almost everyone, but there is still such beauty” (Mandel 57). Talking about the scenery from nature and the production put on by the Traveling Symphony, Mandel subtly shows how it’s in our human nature to express oneself. Although nearly the entire population of the world was wiped out, art survived and remains in everything; unavoidably associated with human life, from the natural happenings of the environment to characteristics exhibited from people.

Kleiner, Fred S. Gardner's Art through the Ages: A Global History, Fourteenth Edition, Volume II.

Mamela Nyamza is a South African contemporary dancer, choreographer and teacher. She is one of the South African choreographers with a powerful voice and her works are performed internationally. Mamela was born in 1976 in Gugulethu, Cape Town. A lot of her works rips into vulnerable base of European culture and all the pretentious nuances it represents. In this essay I aim to discuss the choreographic aesthetics and the treatment of the body in performance by making reference to specific works, mainly Hatched and also Shift. Hatched was written in and debuted in 2008 at On Broadway, the Out The Box Festival and Baxter Dance Festival. Her work called Shift was debuted in 2010.

Rather than a musical composition or visual installation, the work 4’33’’ is a concept in art history. Therefore, I think there is no need to separate music and visual art. To be honest, 4’33’’ is the silence within 4’33’’ that presents ideas to the audience. Cage

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

Their dancers connect with the dance tradition embodying feelings of existential human anguish and references to specific geographic places, dancing focused on surreal situations, body use and the relationships between stage and

When one walks into RISD Museum’s contemporary exhibition, it is easy to notice the architectural strong lines of the room and immediate sculptures on view, which are simple but strong with minimalistic lines are easy on the eye. One glance at Steven Campbell’s Men Insulting Nature and the Notion of Travel, and people don’t know what to do. The large size of the canvas, in comparison to the other works of art in the exhibition, is harsh to the eye. Campbell’s piece creates a reaction opposite: one needs to back up and take in the whole piece, then move closer to analyze the details. This “dance” continues, moving closer to look at the tiny details, then backing up to look at the whole piece with the new information learned; however, every time the viewer does this, it leaves them with more questions.

As I watched a tall woman, stumble blindly across a crowded stage in silence, the last thing that crossed my mind was what kind of music could accompany such mundane yet ethereal movement. If I were to have guessed what musical score would be used for Pina Bausch’s abstract choreography, I surely never would have imagined Henry Purcell’s arias from Dido and Aeneas. On a basic level, Pina’s choreography seemed to have no correlation to the music. The sporadic rhythm of her choreography never seemed to follow the trembling voice of the soprano or dramatic cry of the violins. In fact, as furniture and dancers unpredictably crash around the stage, her choreography almost serves as a second, contrasting musical score. At first, the choice of seemed as random as which chair the sleep walking women ran into — yet her musical choice still seemed to fit perfectly.

The Avant-garde composer, John Cage, created a space for silence as an important element in understanding the meaning of music and sound. According to Cage, when he is listening to ‘music’ it is as though someone is talking about their feelings or their ideas. When sound is presented in a raw, natural form for example, in the case of traffic, it is simply sound that is acting. This activity of sound is what caught Cage’s interest because of its transient ability to be loud or soft, long or short, high or low etc., leaving him satisfied, without having the need for sound to ‘talk’ to him. In this paper, I will be writing about the role of silence in John Cage’s compositions and the evolution of his changing perception of silence as seen in those compositions.

An iconographic approach to interpreting Correggio’s Madonna and Child with Infant John the Baptist asks us to look for hidden meanings or symbols within the work of art. A pre-iconographic description of Correggio’s Madonna and Child with Infant John the Baptist would be the identification of a two babies and a woman. An iconographic analysis of Correggio’s Madonna and Child with Infant John the Baptist would show that the Madonna and child are common motifs represented in Christian paintings, as well is the story of John the Baptist. It was known that Saints were usually depicted with personal symbols in order to clearly identify the figure in question. The Madonna and child is a repeated motif through Christian paintings and Madonna (Virgin Mary) is commonly depicted draped in luxurious fabrics in the colours green, red and blue.

Adapted from the Everyday Magic Exhibit at GoMA, the concept for my mini exhibit is Tranquil Rhythms. The title clearly represents striking elements of the exhibit that bring all the pieces together. There will be 5 collections shown in the exhibit, they are; Untitled (from webs from my garden series) by Sandra Selig, Citizens Band by Angelica Mesiti, Untitled Cascade by Rebecca Baumann, Assorted Spices for Dinner and Daydreams by Mieko Shiomi and Silver Screen by Callum Morton. The artists all come together around three central ideas that being tranquillity, rhythm and play. These central ideas will be furthermore explored.

In “Sotto Voce”, digital imagery, kinetic lines, and music combine to create a lush, poetic experience that transcends traditionally written work. Divided into six segments, “Sotto Voce “presents the reader with various speakers who comment on incredibly poignant experiences of life in an urban setting. Through her use of an engaging and unorthodox art form, author Zahra Safavian manages to capture the tragic restlessness of aging and the loud beauty of public places.

Last in his lifelong series of Compositions, this work is the culmination of Kandinsky's investigation into the purity of form and expression through nonrepresentational painting. Executed in France, this monumental painting relies upon a black background to heighten the visual impact of the brightly colored undulating forms in the foreground. The undulating planes of color call to mind microscopic organisms, but also express the inner emotional and spiritual feelings Kandinsky experienced near the end of his life. The uplifting organization of forms in contrast with the harsh edges and black background illustrates the harmony and tension present throughout the universe, as well as the rise and fall of the cycle of life. The presence of the

Born July 15, 1943, Asher emerged on the art scene during 1969 with five different installations that year. His first solo exhibition at the La Jolla Museum of Art required the visitors to “enter” the work. The whole gallery was robed in white with a shag carpet for the floor and a soundproof material on the ceiling. This material effectively muffled the noise of the visitors and other ambient sounds which were replaced by sound generators. Sounds coming from these machines effectively canceled or increased the intended noises throughout the room; most notably, the sounds in the center of the room and in the corners was dampened and increased elsewhere. Entering Asher’s work did allow insight into the thoughts, ideas, and beliefs of the artist but the visitors learned about themselves through sensorial experience and conceptual challenges.

Corp Etranger (1994) is a video piece made by Mona Hatoum which explores the artists body with an endoscopic camera. The piece is composed of a cylindrical room with padded walls where the viewer is invited to enter and view the video of Hatoum’s internal body, displayed on the floor of the room. Using Kristeva’s strategy of abjection the internal cavities are magnified and distorted into a grotesque monster that have the effect of swallowing up the viewer. ”The symbolisation of the womb as house/room/cellar.” (Creed, 1993, p.55) The work is accompanied by an echograph of Hatoum’s breathing and heart beat, enveloping the viewer through all there senses. “I didn’t want my work to be one dimensional in the sense that it just appeals to the intellect.