Sunshine Eaters Analysis

Many artists explore their personal journeys within their artworks, as a way of understanding their emotions and the world around them, as well as discovering their identity. Sarah Fordham’s art is inspired by her experiences including her travels around the world, and also as a way to make sense of her thoughts, ideas and emotions. These elements are displayed in bright colours, incorporating symbols and patterns in her work. Her two artworks being analysed are called “The Big Call” and “Pokeepskie”.

The theme of this exhibition is the environment and the earth. The artist try to find a method that intuitive and labor-intensive from different cultural and geographical location in the processing of materials and narrative images. The most interesting artwork is 'Universal Cobra Pussy’(2011). It was done by Shuvinai Ashoona (a contemporary artist in Dorset County) and Shary Boyle (he is mainly focus on the aspect of sculpture, painting and performance). This picture uses ink, gouache and coloured pencil to show me a vivid story. It gives me unique insights of how “creatures and earth” effect other creatures. The top half part of the picture is the colorful painting and the dumping of status. The artists use two spiders with apple and a long

People and the landscape are inextricably linked and consequently each play a role in shaping the other. The texts we have studied show the implications for the individuals present based on their treatment of the landscape, highlighting the connection between the two. Both Judith Wright in her poems “Brother and Sisters” and “The Hawthorne Hedge” as well as Michael Wilding in his short story “As Boys to Wanton Flies” showcase the emotional ties between the individuals and the landscape. Both composers, through their chosen text demonstrate how the individuals are connected, influenced and shaped by the landscape showing that they are not merely inhabitants but are a part of their chosen landscape. This has been done to highlight the involvement

For many, Fresh Kills conjures up images of the “World’s Largest Landfill” - bulldozers pushing mountains of trash, flocks of seagulls fighting over table scraps, and plastic bags fluttering in the wind. After the closure of the landfill, many hope that this image will be replaced by Fresh Kills as a public park. The international design competition, Fresh Kills: Landfill to Landscape was the first step in transforming this image. Six finalists suggested six different visions of how Fresh Kills could be re-imagined. The winner of the competition, Lifescape by the landscape architecture firm Field Operations, proposes a design that focuses on nature not only as the antithesis of landfill, but as an agent of cultural change. James Corner, founder and director of Field Operations, first asked how might landscape architecture be a force that enriches and informs people’s perception of nature in his 1997 essay Ecology and Landscape as Agents of Creativity. Through Lifescape, Corner proposes an answer to his own question, and the resulting design responds to Fresh Kills landfill past, and it’s post-industrial future as a park.

The narrator shares this story from his youth in the words of an educated man. His actions as a teen are in stark contrast to his phraseology as an adult. Early in the story, he viewed “nature” as sex, drugs and rock and roll (Boyle 112-113). However, as the story ends and the turmoil subsides, the narrator sees nature for the first time, through the eyes of a person matured by this traumatic experience. The “sun firing buds and opening blossoms” replaced the once revered beer and

Humanity is but a facet of the sublime macrocosm that is the world’s landscapes. In the relationship between man and landscape, nature is perpetually authoritarian. In her free-verse poems, The Hawthorn Hedge, (1945) and Flame-Tree in a Quarry (1949), Judith Wright illustrates the how refusal to engage with this environment is detrimental to one’s sense of self, and the relentless endurance of the Australian landscape. This overwhelming force of nature is mirrored in JMW Turner’s Romantic artwork, Fishermen at Sea (1796). Both Wright and Turner utilise their respective texts to allegorise the unequal relationship between people and the unforgiving landscape.

On Saturday, November 4th, I visited the Denver Art Museum in Denver, Colorado. The piece of art I decided to write about is called “A Mountain Symphony (Longs Peak, Rocky Mountain National Park, Colorado)” This two-dimensional oil on canvas painting was completed in America in 1927 by Sven Birger Sandzén. This painting has not been on public view since 1927 and is located in the Denver Art Museum in Denver, Colorado. It was a “Free Day” at the museum, so I decided to attend by myself. I was unable to get a picture of myself in front of the work of art I decided to write about, but I did get several pictures of the artwork and a picture of myself with the “Free Day” sticker. I decided to write about this work of art because it was the only piece in the museum that really stood out to me and really caught my attention. A Mountain Symphony is a lively, beautiful landscape painting with a vibrant pallet filled with luminosity and broad brushstrokes. The sculptural quality of the paint surface reflect the influence of turn-of-the century modernist techniques. The balance of color and light brings happiness and joy to the viewer.

In the poem “Postscript” by Seamus Heaney, the speaker describes an experience with a natural landscape in order to illustrate how experiences can evoke feelings that overwhelm us with their transcendent beauty and leave us speechless. Finding words for the beautiful, sublime, uplifting moments can be difficult when encountering such places, and even though the speaker leaves space for the ineffable, the poem makes the reader feel as though they have received a glimpse of something true, a valuable piece of advice about how to move through the world. This essay will therefore analyse the poem in order to discover and articulate how and why this poem advises the reader on how to create their own version of his unique fleeting experience.

Rosalie Gascoigne started working as an artist in Australian later in her life during the 1970’s to late 1990’s. Her focus was on the environment and sustainability as she often used discarded objects such as streets signs and drink crates and gave them purpose. Her line of work is closely associated with the postmodernism movement which challenged the notion of art existing to be representative and instead insisted there is no ‘real art’ meaning anything can be art.

In chapters two and three titled “Sites” and “Movements” respectively, Howard makes the case that there is a “dialectical” relationship between the subject and the landscape (both social and physical) and

One of the 20th century’s most important and influential modernist poets was Hilda Doolittle, more commonly known as H.D. While other artists struggled to find a new mode of expression, H.D. found imagism and created intense poems delving into very specific depictions. In “Sheltered Garden,” H.D. employs intense imagery using nature in order to put forth an opinion or viewpoint, which is also highlighted by another poem titled, “Sea Rose.” By analyzing these two poems, one can more fully comprehend the modernist movement/mentality and how H.D. shaped her own form of poetry. In “Sheltered Garden,” the poet uses the image of a garden to not only push against society’s constraint of women, but also its imposed ideas of beauty, creating tension between the natural and the unnatural.

In the story “Stop the Sun” by Gary Paulsen the theme is some people have problems that sometimes we can’t understand because it isn’t something that can’t be understood, but the knowledge that we obtain when we ask questions is more beneficial than when we don’t try to seek understanding. The story “Stop the Sun” by Gary Paulsen is about a boy named Terry that has a father and sometimes his father’s “eyes go away,”. This worries Terry and causes him to want to know more about what’s happening to his Father. He looks for answers to his questions everywhere because he justs wants to understand.

In Sundiata: An Epic of Mali and The Interesting Narrative of the Life of Olaudah Equiano, the importance of storytelling and recording history is prevalent throughout both stories. In Sundiata, the griot serves as the narrator of the story recounting the tale of Sundiata told to him by his father who learned it from his father and so on for countless generations. Griots travel amongst their people using oral history as a way of preserving African culture and heritage throughout generations. They treasure the superiority of oral history above written history because the written word “lacks the warmth of the human voice.” Conversely, Olaudah Equiano explores the written word as a method of spreading his story throughout the world. He writes a biography because it can be translated into countless different languages because his purpose is to educate as many people about his story in an effort to end the atrocities of the slave trade. While the function of the griot is to connect Sundiata with his ancestry via oral storytelling and music, Equiano’s written testimony distances himself from his indigenous African heritage.

This painting shows how close and codependent humans and nature were. How well humans worked together with one another and their world. How peaceful those that are close to nature are, which is why it (nature) must be celebrated and appreciated.

The colors and materials used really draws your attention as soon as you step into the doors. It used many everyday materials, such has trash, yarn fabric, and random objects you find around your house. The exhibition in this gallery is called Forget Me Not which will be leaving on December sixth. The point of this exhibition is to mirror the process of memory through forgetting. It also includes artwork from a number of female contemporary artist who are around the Atlanta area. Some of the art work was made based on the patterns of wind movement. It showed the different waves of the wind by using fabric of different colors to signal the directions. Two other pieces of art work were made out of trash completely. Each piece with the trash intertwining with each other. Other pieces just looked like random trash taken out and put on shelfs. Although all the pieces were very interesting, the one that caught my eye the most was the biggest and most colorful one of them all. It covered the entire wall. It was called Sunset Portraits from 28,029,142 Sunset Pictures on Flickr on 7/14/05, 2008- ongoing by Penelope Umbrico. It was a big collage of photographs all piece together. In fact the artist just sent the pictures to the school and the students and staff were able to piece the photos together any way they wanted. Umbrico questioned the idea of the democratization of media, and where it claims to foster subjectivity and individuality. She also address how images function on the internet rather than physical time and space, and also how it is depicted on the web then how it is printed out on paper. She takes the images on line as a collective archive that represents us as people. This work really draws the viewer in with the peacefulness of all of the sunsets put together. The different colors and the silhouettes of the people who are happily enjoying each other’s company gives off a certain