Research Paper On Jacques Austerlitz

Within such assemblage museums and their unsettled artifacts can be situated as affect- image (83). They are not fixed and static places which contain unsettled objects. They can depart from the common sense world and organize systems that control appearance and relationships and suggest the future. Museums select what they represent and; consequently, excludes parts of history according to their interests. This resembles the white policy which stresses and enlarges a specific trait in the colonized and excludes any implication of positive traits.

During the nineteenth century, Paris further developed into the entertainment capital of the world. Alistair Horne, the author of the Seven Ages of Paris, vividly illustrates several historical moments that occurred in Paris. Through the horrors and triumphs, Paris was able to endure through it all for ages and still emerge greater than before. In comparison, Vanessa R. Schwartz, the author of Spectacular Realities: Early Mass Culture in Fin-de-siècle, demonstrates how the explosive popularity of the boulevard, the newspapers, wax museums, panoramas, and early cinema led to the creation of a new culture in Paris. Driven by consumerism, a cultural revolution was happening, who’s new culture transcended gender and class divisions. Both authors

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Jean-Michel Basquiat was born on December 22, 1960, in Brooklyn, New York. His mother was a Puerto Rican, and his father was a Haitian immigrant, the combination of both eventually led Jean-Michel's into learning creole, Spanish, and English. At an early age, Jean-Michel decided he wanted to be a cartoonist and so his mother took him to a art museums in order to stimulate his imagination. He showed a precocious talent for drawing, and his mother enrolled him as a Junior Member of the Brooklyn Museum when he was six. At the age of eight, he was extremely injured in a car accident and was hospitalized for a month. He broke his arm, suffered multiple internal injuries and underwent a splenectomy. His mother brought him a copy of his Grey’s

I was pretty hungry that afternoon, thought I would find something to eat outside of the cave. All I was expecting to find was a couple of clown fish, maybe a sea horse if I’m lucky, but never this thing!! I don’t even know what to call it, it was long, all black, and there were constantly bubbles coming out of it back. It had flippers and really big eye balls.

Arthistoryarchive.com (2007) Haussmann's Architectural Paris - Architecture in the Era of Napoleon III - The Art History Archive. [online] Available at: http://www.arthistoryarchive.com/arthistory/architec

His constant references back to Friedrich’s painting allows a person to have a visual understanding of what he is expressing about our relationship with history, which is best if there is “detachment from- or if you prefer, elevation above- the landscape that is the past, so it also requires a certain mastery” (7). Furthermore, Gaddis mentions, "history is arguably the best method of enlarging experience" (9) and "what historians do... is to interpret the past for the purposes of the present" (10).

The secrets of the past have a way of shaping many lives. Griffin`s essay focuses on the idea of secrets by using various techniques to address this topic. Her essay uses an objective and indirect approach to guide the reader to translate the moments she records. Griffin does this by interviewing people to discover the past, providing descriptive reports of illustrations to promote a visual perspective, and ultimately the paintings are used to make the reader analyze their purpose. These methods are valuable because it promotes critical thinking and different points of views to tell the story.

“Old Paris” was viewed as a collection of picturesque memories, cherished dwellings, close neighborhoods, and lively streets. The people inhabiting “Old Paris” included those in the banlieues

exhibition of his longing for the familiarity of Paris and the sanctity of his past, a

Regularly occurring within a historical narrative is the prominence of non textual documentation through the expression of symbols, iconography, and emotional memory. Inherently representational, symbols are used to add a dimension in to a narrative. In the case of the Holocaust, symbols are used to materially express the nearly unfathomably reality of its events. But, what do we do with often emotionally charged perceptions of history? Symbols can be used as evidence, and as a way to connect the past to the present commemorating the time period in which they encapsulate. But symbols are culturally created, as objects are assigned a meaning often during but more importantly after events have passed. In the case of the Holocaust, the train

Between the end of the First World War and Hitler's seizure of power a cultural explosion occurred in Paris that altered our notions of art and reality and shaped our way of viewing the world ever since. In the 1920's, Paris became the undisputed international capital of pleasure and was regarded as the cultural and artistic center of Europe with a reputation for staging one of its most glamorous eras, as well as some of the most spectacular revues in the world. Imagine for a moment, that it really is 1920's Paris. You are leisurely strolling through the gas lit promenades. World War I is over and the exuberance of jazz musicians, symbolist painters, and American expatriates

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Photographs are re-collections of the past. This essay is about photography, memory, and history and addresses the relationship between photographic images and the need to remember; it is based on the notion that seeing is a prelude to historical knowledge and that understanding the past relies on the ability to imagine. At the same time, the role of thought and imagination in the production of society--as reflected in the earlier work of Louis Althusser (1970), Maurice Godelier (1984) and perhaps more significantly, Cornelis Castoriadis (1975), suggests yet another role for photography in the construction of a social and cultural reality. Photographs in capitalist societies contribute to the production of information and participate in the surveillance of the environment where their subjective and objective qualities are applied to the private uses of photographic images in the perpetuation of memory.

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.