Similarities Between Crewdson Wall And Gursky

Contemporary art has a long history of appropriating material into new work such as Duchamp’s ready-mades where he recontexualizes found source material, the photo collages of Hannah Hoch and today’s remix culture. In Remixthebook, Mark Amerika (2011) argues that in Postproduction art, “the artist takes what has already been produced in culture and, through creative postproduction means, expresses a new cultural configuration that both speaks to contemporary culture as well as the source material that has been remixed”. Traditional crafts such as patchwork and quilt making have also contained ideas of transformation of old collected materials into new forms. By the frugally collecting and repurposing of these waste materials, Gower critiques

The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and

In today’s society, we are constantly being bombarded with visual art forms. Whether they be classical paintings from the Renaissance, a towering and modern skyscraper, or even a cheesy 90’s R&B music video, they all have one thing in common. According to Carolyn Dean’s definition, these would all fall under the category of “art by intention.” In her essay “The Trouble with (The Term) Art” she advocates a distinction between art by intention and what she deems “art by appropriation.” The difference is that one work was created with the intention of being consumed for visual pleasure, while the other was not. However having been educated in the Western school of thought, many art historians cannot help but project their rigid definition of art onto civilizations that may have

Distinctive images are often filled with various qualities, and these qualities often create interest and create unique experiences. The John Misto play ‘The Shoe Horn Sonata’ and the Craig Johnson film ‘The Skeleton Twins’ both demonstrate images which are distinct and help the audience figure out the two texts. Images, along with various film and dramatic techniques attract the eye and help give a positive response and often a feel of the characters and what is occurring. Without the use of images, the two texts and many other texts would not be distinctive visually.

“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.

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

When you think of college athletes you often don't think about them getting paid. College athletes and whether or not they should get paid is a hotly debated topic that is likely not to end any time soon. It has gone on for many many years and no conclusion can be seen in the near future for the vigorously debated topic. The debate really picked up again when Kevin Ware suffered a compound fracture to his right leg which stuck several inches out of his shin. Injuries like this one often time end careers that have not even begun. It is sad to see young players get hurt and never be able to continue their career. It is also very unfortunate when players get hurt and their careers end before they have taken off. Every player in college basketball wants to walk of the court winning a national championship, but most can’t walk off the floor at the end of their career with the confetti flying from the ceiling and the stadium videoboard playing their picture to all their fans. Although most athletes can’t win a national championship to end their career some athletes don't even have a chance at that dream. VCU’s senior guard Briante Weber tore a knee ligament in a game that ended his college career. Unfortunately he won’t get the chance to play for VCU on his senior night, or to play in the NCAA Tournament. Weber was going to be

Plantigna deliberates on various differences between the fiction and non-fiction filmmaker, particularly the role of imagination to the two differing styles of film. He discusses that the fiction filmmaker “freely creates imaginative events”, where the non-fiction filmmaker “portrays or makes explicit claims about actual historical events” (104). He then puts forth the idea that imagination is also important for the non-fiction filmmaker as he as the creator “decides how to represent historical events” (104). This is demonstrated in shot 237 where Resnais’ camera pans over the ceiling of a gas chamber that has been carved in and scored by human fingernails and the voice-over narrates, “the only sign—but you have to know—is this ceiling, dug into by fingernails”. Here, Resnais using his imaginative ability, has seamlessly

Most of the work in this show took form of collection. These artist in this show are often called outsider artist and most of them do not refer to themselves as artists. They do not call their work art. Most of them are not interested in art history not do they see the world in any linear way. Inspiration come from within for these artist. Inside every one of their collected object lies the entire world which is a part of a family of forms. Artist Vladimir Nabokov displays his beautiful dissected butterfly penises in categorized cabinets. Also in the show are 81 black and white photographs of individual snow crystals by Wilson Bentley. Although he has been in several museums, his work is mostly considered as scientific work. The collections might look strange within the context of the art museum but they show us that art a search for new paths and come from

Transportation is the movement of people, animals and goods from one location to another. Transportation is the system of road transportation, rail transportation, marine transportation and air transportation.

Berger highlights this difference by giving examples of Mrs. Siddons by Gainsborough and Andy Warhol’s Marilyn Monroe which, although have outstanding elements of a painting but fail to be ‘objects of envy’.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

Visiting to Snohomish Court is my first time to experience about the court in my life. In my country, I never go to a court because I thought that only lawyers and people who break law need to attend in the court. To be honest, it is an amazing trip, so I will never forget the time when I was there. After I arrived at the Court at 8:20am, I was extremely worried because it was my first time to visit the court in the US. However, the employees of the Snohomish court are really nice to me. First, when I looked at the map to find the way go to the Mission Building, a police asked me what I was looking for. Then, he told me he could take me to the Mission Building. When we were heading to the Mission Building, we had a fun conversation.

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).

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of