Radical Presence

However, the “live” is still typically absent. As the audience for this kind of art, we are always complicit in its meaning. This ringing especially true to any sort of “live” performance. With artworks such as this, one has to allow for themselves to be changed in response to the stimuli. O’Grady pushed the limits when it came to identity in her pieces, she went against the norm and decided to be different. Others chose to intervene into public spaces such as the street, or in this case a parade, to instigate a conversation between the viewer and performer - as one, they work together to allow for later viewers to understand the motif and the

Introduction Background - Brief summary of musical, Historical context Thesis - While Hairspray may portray the Civil Rights Movement in a simplified and somewhat glorified way, it ultimately provides modern day actors of color an opportunity to be casted in theatre, a white-dominated field.

I have had a passion for art since childhood. Over the past three years i have sought to use this enthusiasm to good effect. I focused on discovering new talent and learning about the process of creation and also the curating of exhibitions. This lead to me creating a pop up exhibition for students at Central Saint Martins in a vacant space on the Portland estate in

This past Friday, I attended an art exhibition at the Memphis College of Art where I saw great paintings from Meghann Riepenhoff, along with Tim Andrews. The show consisted of both their paintings in separate sections, they were the only two artist. Personally, I’d say the show combined did not have a theme, but as separate it did. When I first stepped in the building, I was welcomed by greeters, the event coordinator and Riepenhoff’s paintings. Her painting’s made me think the overall event theme was about the beach and waves, but that was not the case. While I continued walking and observing the painting’s I was greeted into Mr. Andrews’s exhibit, which consisted of self-portraits. Both artist having paintings placed in the same space didn’t take away from one another’s paintings.

With “Outburst” exhibition, the Worth Ryder Art Gallery conveys their primary museum visitor is the recharger. Based on Dr. John H Falk’s work , the Worth Ryder Gallery attracts recharger. A recharger is “a visitor primarily seeking a . . .restorative experience. They see the museum as a refuge from the work-a-day world. .” Outburst a was the Senior Thesis Exhibition for 26 student artists. This showcase allows artist to display their work to the peers and community. Because Outburst is a senior thesis show that reflects the artist's own personal interest, conceptual concerns and materials research. The Wolf Girl and Finale Collection performance, convey inspiration and rejuvenation for the recharger.

In Lukes article ‘Power: A Radical View’ centers on the idea of how power should be implied hypothetically and by means of how it should be looked upon analytically. As power is defined in Steven Luke’s article, power is spread all throughout in the United States political system as a whole. On the other hand, politics of the ACA holds high power into directing citizens into more affordable health care costs. In my paper, I will apply Luke’s ideas on power with the politics of the Affordable Care Act.

Being black has several dynamics. There are countless skin tones, hair textures, facial features and subcultures within the black community. However, none of those variations make an individual any less black whether they have lighter skin or softer features. Being black is not described by physical characteristics, but it is

Not only does Nuit Blanche provide the city of Toronto with a different means of exploring how everyday public spaces are used, but the spectacle is also able to take part in the process of allowing individuals to regain an understanding of the important messages found throughout the city in which many individuals often ignore. This process takes place through the messages that are being portrayed by the various art pieces found within this event. Each one of the artists who share their work in Nuit Blanche for the residents of Toronto as well as those who may visit the event from other areas of the city or country, have a specific story or message for the audience that is viewing their art piece. Therefore, it can be explained that they are able to use street art in this festival as Ripmeester (2010) analyzes, as a means of quick delivery while also challenging the homogenization, sanitization and privatization that is often associated with public space (p. 186). Nuit Blanche encourages these individuals to integrate important messages in order to shift how individuals view the city and shed light on many different issues. The night of this event moves beyond what public space normally stands for and gives artists an opportunity to try and make a difference. For example, exploring the art piece created by the Madeleine Co, found in the Taking to the Streets zone further demonstrates this idea. The Madeleine Co art collective created the art piece 24: Listen to the Chorus. The project is a large video installation found on Queens Park Crescent in which the four women perform a poetry piece accompanied by music (See Appendix Figure 2). It is interesting to note that in this piece the audience cannot see the entire faces of these women but rather the part of their face from their nose downward. The video installation is quite large and is able to capture its audience fairly quickly. The purpose of this project however, is to explore the state of women’s rights. The project aims to do this by amplifying “voices of those who identify as a women and to present a chorus of resistance that implores the audience to listen” (“Nuit Blanche Toronto”). The women who are involved in this art project all have the similar

From Luna’s museum installation of his own body and belongings as “artifacts and Wilson’s provocative juxtapositions of museum objects to Mesa-Bains’ symbolic home altars, Osorio’s condensed spaces (living rooms, bedrooms; barbershops, prison cells) and Green’s genealogies of cultural contact, the theoretical and critical undertakings of these artists illustrate how race

The Radical and The Not So Radical in Transcendentalism The Transcendentalist notion of questioning the bible as a legitimate authority must have shaken the foundation

It is composed of two elements: a portrait with a stitching and a poem. The poems are the elements that create the emotional challenge. The texts are heavily charged emotionally, creating a strong reaction which could result from not being prepared for such representation of refugee life. It can be frightening, as people might not be accustomed to reading such stories. It can equally be moderately shocking, because even if people do understand that these are difficult moments in the lives of refugees through media coverage, it is not every day that they can learn about their journey in this way. Indeed, the texts are brutally honest about the atrocities they encounter on their way to the United Kingdom. In this case, the challenge is primarily due to the sitters who shared their stories via these poems. The artist is important since she initiated the project and decided to include these poems in the space. The curators worked on the placement of the poem but this does not impact the challenge potential of the work. In this case, wherever they were displayed, they would have had the same

This ‘Auction of abstractions’ unfolded questions regarding conventions of social interaction, nowadays many artists make no distinction between their work inside and outside the gallery. We find ourselves in a place where the mundane is elevated and revered (Bishop 2006). Kaprow came across the idea of appreciating ordinary activities through Jackson Pollock. He was excited by the performative possibilities of painting. After Pollock’s death he wrote an essay, exploring what he thought Pollock had meant for painting, art and life (Beaven 2012). He suggested that ‘the art to come was one that incorporated everyday life, and everyday objects.’ (Kaprow qtd in Beaven 2012). He then went on to develop the “Happenings" which he describes as ‘something spontaneous, something that just happens to happen’. (Kaprow qtd in Beaven 2012). Kaprow created two hundred Happenings and eventually he shifted his practice into what he called "Activities", committed to the enquiry into normal human activity in a way congruent to ordinary life. One particular work called ‘18 Happenings in 6 Parts’ was performed in 1959 at the Reuben Gallery in New York and is one of his earliest and most important Happenings. This participatory event

The role that minimalism played in the advent of performance art Minimalism’s greatest contribution to performance art was its dismantling of metaphor, the creation of a purely self referential art, an art that didn’t refer to anything outside of itself. Minimalisms banishment of the figure and its reinscription of the body back onto the viewer set the groundwork for an explosion of performance art. The main catalysts for this being women artists in the 1960’s. For these artists who were already under represented within art, the banishment of the figure was a complete anathema. This wave of feminist artists was the main stimulant for performance art.

A recent article in Art News discusses the British Avant-Garde artists in terms of their "ruling out nothing."(6) It discusses grass roots initiatives such as the 1988 "Freeze" show organized by Damien Hirst, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of train stops on London Underground maps with those of philosophers, and others. Cornelia Parker¡¦s idea that visual appeal is not the most

The Beauty and Complexity of Minimalism Pine Trees by Hasegawa Tōhaku and a Shoki-Imari sake bottle Today’s modern world is often complex, colorful, noisy and fast-paced. When I am engaged in art, I frequently look for works that allow me to escape from my hectic lifestyle. Clean lines and use of space appeal to my senses and calm me. Sometimes, what is not stated says more than what is stated.