Taschen Is A Publishing House With A Reputation For Excess

The San Diego Museum of Art has remained a must-see stop for tourists and locals alike due to the informative nature of the displayed artwork pieces and its relation to world history. The centuries of artwork pieces can perhaps broaden one’s perspective of art cultures from around the world, as I have become more informed about Asian cultures and traditions through pieces, such as Brush and Ink. As Hans Hofmann stated, “through a painting, we can see the whole

Trask is able to use logos to prove how tourism has affected the Hawaiian culture. Trask refers to Hawaii as a “She” who “Rubs off” on the visitor with her magical presence. The beauty of Hawaii is used as an escape from “Rawness and violence” for most Americans though, Trask mentions that the land has a “Western sexual sickness” (Trask 1993). “Of course, all this hype is necessary to hide the truth about tourism, the awful exploitative truth that the industry is the major cause of environmental degradation, low wages, land dispossession, and the highest cost of living in the United States” (Trask 1993). Trask says that the areas of Hawaii which were “sacred” to the Hawaiian’s have now been turned into top of the line hotels. The beaches that were once full of fishermen and their nets are used for recreational activities like surfing getting a tan and jet skiing. On most of the beaches owned by resorts, the beaches are reserved for hotel residences only. In the essay, Trask gives the readers logos as to how tourism is changing the land. For example, thirty years ago the ratio of Hawaiians outnumbered the tourist 2:1. Today,

Black, white, and gray is the foam of a crashed wave along a California beach. While the birds-eye-view of the shoot gives us a portion of the beached tide a line of white foam dangles from the bottom of the top border. There the homecoming of the beached wave is met with a wall of resistance from a smaller salty surge. Meanwhile, the water retreats back to its endless body as it curls around protrusions of shell and rock. Mid photo, water spreads itself out on the dry sand making it stained with darker gray and soggy. At the bottom a dark shadow casts itself parallel to the bottom border.

Cited Do You See What I See?. Boston University, 2013. Web. 8 Oct. 2013. Giulio Cesare Procaccini. Banks Fine Art, 2013. Web. 7 Oct. 2013. Kleiner, Fred S. Gardner's Art through the Ages: A Global History, Fourteenth Edition, Volume II.

Surfer Dude Culture in "Endless Summer" a Critique Director Bruce Brown's Endless Summer was released in the summer of 1966. The 1960s in America and around the world was a high point for conflict and counterculture. Endless Summer is a documentary that showcases the lifestyle and philosophy of surf culture. It is one of the first surf documentaries that represent the culture and the sport. The film exposed audiences around the world to surfer and sparked increased interest and participation in the sport and the culture of the surfer. This paper will describe and interpret the surfer dude culture.

In Iris H. W. Engstrand article, “Perception and Perfection: Picturing the Spanish and Mexican Coastal West,” I initially did not know what to expect of the article. I figured Engstrand would discuss multiple views and perspectives when moving to the Spanish and Mexican Coastal front. I found the thesis, after reading through the article as it was not outrightly stated, to be: “Artists and illustrators depicted the past -- or the observable present -- in pictorial documents that became the records of current events, journalism, of reportage, and of scientific exploration, discovery, and adventure.” I believe Engstrand’s purpose is to reveal to her readers the predominant primary sources of the late-eighteenth and early-nineteenth century and how the art could be manipulated to please specific cultures or people.

As New York photographer James Maher quoted from A World History of Photography, “photographs used in campaigns for social reform not only provided truthful evidence but embodied a commitment to humanistic ideals” (361). Moreover, as shown in the article Documenting the Social Scene, the powerful photography that Hine and Riis have captured of immigrants encapsulate the need for change; furthering the separation of their photojournalism from illustrative and recreational art. From Hine documenting much of the practices of child labor, to Riis exposing the harsh living conditions of the Lower East Side of Manhattan, (Maher) both photographers comply to a code of ethics and sense of journalistic integrity— Riis and Hine showcase the truth behind the photos in a way that attempts to humanize the subjects on film as much as it attempts to engage a moral debate of the situations at hand. In addition, to exemplify the impact of photojournalism, we must consider the perspective of the Gilded Age

The Battle for Paradise: Surfing, Tuna and One’s Town’s Quest to Save A Wave By Jeremy Evans Surfers of a certain age residing in Southern California can recall a time when uncrowded waves unfurled across miles of empty coastline. Those days are long gone, replaced by freeways and housing tracts that extend

Do you already have your summer vacation plans nailed down? If not, the Mendocino Coast is a trip you should add to your list. For the more spontaneous, tuck this spot away for a future spur-of-the-moment daycation. Either way, you’ll be delighted when you go as there is much

Enjoy the wonder and majesty of California’s coast with this exhibition of prints by artist and author Tom Killion. Highlighted in this visual journey through some of the state’s most memorable locations are Mendocino, Point Reyes, the San Francisco Bay, Carmel, Big Sur, Santa Barbara and Santa Monica.

An Auteurist Critique of The Life Aquatic with Steve Zissou Wes Anderson is a world-renowned filmmaker known for creating vividly colorful films that are consistent with his auteur signature. Though he has only directed 7 films (not including his upcoming film and two short films), he is a perfect example of

In spite of this, a few photos with high detail, Henry McArdle’s The Battle of San Jacinto and Private Gustavus Sohon’s Crossing the Hellgate, were reduced to a size that didn’t properly support the authors’ written investigation of the artwork. In addition, certain photos were excluded from the book; Fanny Palmer’s illustration Across the Continent, though described, is nowhere to be seen for instance. It is frustrating to read about an artwork with no representation of it; it is further aggravating to discover that the designer of the book placed photos pages away from the writing in an inconsistent way throughout the

In the Turner’s The Slave Ship and Hokusai’s The Great Wave off Kanagawa, the two artists use the complexity and versatility of the ocean to display important events and ideas of the time period. Through the use of different artistic techniques, these two artists are able to capture similar settings in very different ways with very different meanings.

Culture as a Process in Levine's Highbrow, Lowbrow In Highbrow, Lowbrow, Levine argues that a distinction between high and low culture that did not exist in the first half of the 19th century emerged by the turn of the century and solidified during the 20th century, and that despite a move in the last few decades toward a more ecumenical interpretation of “culture,” the distinction between high art and popular entertainment and the revering of a canon of sacred, inalterable cultural works persists. In the prologue Levine states that one of his central arguments is that concepts of cultural boundaries have changed over the period he treats. Throughout Highbrow, Lowbrow, Levine defines culture as a process rather than a fixed entity,

The Great Wave off Kanagawa; a Japanese Masterpiece Almost instantaneously recognizable, The Great Wave off Kanagawa (woodblock, 10 1/8 x 14 15/16 in, c. 1830-32), created by Japanese artist Katsushika Hokusai in 1830, beautifully captures the graceful, swelling movement of a crashing tsunami. Because of the way in which line and proportion are utilized, this woodblock print gracefully portrays the sheer power of the ocean. Derived from the Edo period in nineteenth century Japan, this classic was the first of a series of works from Hokusai titled Thirty-six views of Mount Fuji, all of which effortlessly depict the mountain in a wide array of angles and scenery. Arguably, The Great Wave off Kanagawa is the most iconic and cherished piece of Japanese artwork in the world. Even more importantly, Hokusai is considered prominent father figure for both Japanese art, as well as Western modernization as a whole. The Great Wave truly displays how tiny and weak man is compared to the force of nature. Not only is The Great Wave a quintessential piece of art, but it established a piece in the comprehensive networks of art, trade, and politics, that has instilled a tremendous positive impact on the twenty first century.