Yony Waite Essay

1. Albert Einstein said, “Learning is not a product of schooling but the lifelong attempt to acquire it.”

Wangechi Mutu, born on June 22, 1972 in Nairobi, Kenya, is a female artist that has explored and challenged the idea of gender and racial identity while simultaneously questioning our perception of the individual and the position we have in our culture and the natural world around us. Through her use of painting, collage, sculptor, video and performance mediums she has combined our mainstream ideal of beauty and her vision of what beauty can be to create a new perception of what we are as humans. Wangechi grew up and attended school in Nairobi and eventually moved to Wales to go to the United World College of the Atlantic. She then moved to New York City to study at the New School for Social Research and Parsons School of Art and Design. She has also earned an honorary Masters of Fine Art from Yale University. Wangechi has had a number of co-op exhibits across the world at several museums in the US, Germany, France, Canada and a few solo exhibits in the US, Canada, and Germany. Her

Artists use their artworks to communicate different meanings and transfer specific messages to the audience. Their artworks can be presented in different forms like architecture, drawing, painting, sculpture, pottery and many other forms. Each artwork contains a specific meaning which is usually based on the artist 's beliefs, culture, identity and the nature surrounding us. Rona Rubuntja from the Hermannsburg Potters, Bronwyn Oliver, Christo and Jeanne Claude each presented their art in different forms but they all communicate meanings and ideas to the audience. Rona Rubuntja who is a senior member of the Hermannsburg Potters and her famous pottery work ‘I 'm Black’ for the exhibition ‘Our Land is Alive’ at the National Gallery of

Apparent in his works are themes such as racism, identity and culture that references the artist’s own backgrounds and experiences. Ah Kee draws on his own experiences of being and aboriginal Australian in the contemporary life in Australia.

The reason I chose to go to the African Art Museum is because I have been there before and I enjoy my time when I go. The tours at the museum consisted of talks about certain pieces in the museum that fell in a category the tourist wanted to focus on. Nkechi Obi was my first tour guide and the title of her tour was “Docent African Arts”. Her goal throughout the tour was to show pieces of artwork that showed what Africans may have gone through in the past in slavery. One piece that she focused on that I want to highlight was “Southern Landscape” by Walter Williams Roots. In this piece there various things going on in the photo.

Dissolved oxygen is oxygen that is trapped in a fluid, such as water. Since many living organism requires oxygen to survive, it is a necessary component of water systems such as streams, lakes and rivers in order to support aquatic life. The dissolved oxygen is measured in units of parts per million (ppm). Examine the data in Table 4 showing the amount of dissolved oxygen present and the number of fish observed in the body of water the sample was taken from; finally, answer the questions below.

Pollock-Krasner Foundation, Artists Rights Society (ARS). (2017). Collection. Retrieved from MOMA Museum of Modern Art, US: Museum of Modern Art [US]/https://www.moma.org/collection/works/78699

Joy Brown is an internationally known artist. She was born in the United States but grew up in Japan with her medical missionary parents. Then she came back to America for college, graduated from Florida’s Eckerd College and later returned to Japan to learn the ways of pottery. She did an apprenticeship in traditional Japanese wood fire ceramics. Brown has worked with clay and wood firing for over 40 years. And for 18 years she has worked with bronze. She has exhibited in galleries and museums in the United States, Europe, and Asia. In 1998, she co-funded Still-Mountain Center; it’s a nonprofit arts organization that fosters East-West artistic exchange.

Students through the process of art appreciation will build connections through the exploration of textures, lines, colour and shape when describing, analysing, interpreting and judging the artworks before them (3 chosen images). They are asked to describe what they see, the artist’s use of colour, lines, shapes and texture. They then move onto analysing; what catches their eye, is the composition balanced and do the paintings look flat or do they have depth. The discussion then progresses onto interpretation where students are able to express what type of emotion they feel when looking at the pictures, perhaps the kind of sounds they might hear if they could step into it, and why they think the artist chose this particular subject to paint and what may have inspired the artist.

Warmun art has been at the forefront of contemporary art. Their art consists of dotting techniques and the use of natural ochre and pigments on canvas “which is integral to the contemporary expression of land and culture as identity for Gija people” ("Warmun Art Centre | Kimberley”). The use of dots, lines and tonal colors in their paintings creates an aerial perspective of their land. The history of massacres and violence is a large part of their oral tradition and is often depicted in their art. Warmun artists also draw on traditional Ngarranggarni dreaming stories which refers to “the time when the landscape took its

An example of this “revolutionary conceptualism” (Ferell, 2012) is observed in Figure 2, a piece of artwork called “The Elders of the Tribe”, by Elizabeth Durack (1953). Overall, the image depicts the elders of a Warlpiri kinship group sitting around a distinctive ground pattern, representing their ancestral origin in Central Australia (Durack, 2015). The wavy and distinctive insignia convey the elders being “swept away by the wind” (Durack, 2015), in addition to the concentric circles, connoting to various spiritual events that occurred at various campsites within the Warlpiri community. Moreover, Durack (2015) further explains that the artwork represented a “conversion from red and white ochre to acrylic medium”, supporting the artistic transition from traditional Aboriginal ground art to Western-inspired acrylic paintings.

In addition to having permanent ramifications upon the environment, the henequen-wheat complex also had a significant impact on social relations and society within Mexico, specifically for the Yaqui.

When visiting an exhibition of art work by artists was organized by Winston Salem State University at the Diggs Gallery. When I reached, the Art Gallery, it packed with students of the university. Clusters of people were inflowing the exhibition halls, their faces were pleased with joy. On the walls, pencil drawings and Jet Magazines were up for presentation. Most of them replicate daily activities and some of them brought us into a world of imagination of how life was in the past. As I sauntered through the exhibition halls, I heard the voice of a public speaker who was telling the guests about the artists and their works. The exhibition offered me precious minutes of moderation and enriched my mind. It brought me back into my pleased and peaceful past.

Their art consisted of basketry, ceramics, calabash decoration, textile weaving and embroidery, but they were not recognized as artists. It was not until the late sixties and early seventies that Africans was recognized for their art but this was only men’s art. Most women’s art was considered household economy items (Aronson, 550, 551). What is ironic about that is women artists were called “ije tebibe”, which interprets to “someone with skilled hands” which clearly states that they had the skill to be considered artists (Teklemichael, 40). In Ethiopia, the education system was hard to get into.

This Paper will be an analysis of the development of Japanese landscape painting, analyzing the historical context behind these paintings and what led to the changes in style. Both of these paintings are representative of their specific culture during this rapidly changing time and these changes will be discussed in relation to the artwork. I am going to be discussing Japanese landscape painting, the outside influences shaping Japanese landscape painting but also focusing on the internal elements of Japanese culture shaping the style of artworks. The changing techniques and styles as well as the changing political climate will all be looked at.