Art Blakey

willingness to continue pursuing a career no matter how big the obstacles along the way. Courage is needed in even the smallest things in life. Experiences in which fear can be questioned by the strength of confidence can be authenticated by my life, the arts, and the world around me. Courage has been apparent in my life in numerous situations;especially at the time of my first surgery. Being born with trigger thumbs was not a condition I thought would impact my life as I grew older; however, doctors soon

subject of the quality of something, especially art, whether that be books or movies. Someone may enjoy a book because it reminds them of their childhood, or someone might love that painting because they relate to their interpretation of the message, while at the same time, other people may hate those very things for entirely different reasons. So why do we base the quality of something on copies sold or a five star rating? It’s impossible to decide if art is objectively of quality without experiencing

Heidegger contrast the earth and the world by the differences in perspective with the given examples of criticizing artwork. We view art differently by our experiences. Artists create an artwork with certain feeling in mind, but to the viewer, the artwork may be just a thing. The specific artworks Heidegger used in the book are the painting of several shoes by Van Gogh. For everyone that knows what the shoes are like to them is just a thing or equipment they use. However to Gogh’s purpose was to

look through his life. Born in September of 1899, Gyula and his family first stayed in Paris when he was three years old. His interest in art began in his youth, specifically sculpting and painting. He served in the Hungarian army until the end of the First World War, and then he started to work as a journalist in Berlin, while at the same time attending art school. He moved back to Paris

however in Benglis work there is an irrational use of contrasting colours, this allows the sculpture to stand out and add to the three-dimensional aspect of the work. The media of colour provides a conflicting appearance as the colours in Benglis’s art has a striking appearance and there is a clear distinction between colour, this is drastically different on Pollock’s “Lavender Mist”, as there is a gentler approach to how colour is used for tonal and atmospheric purposes. (Klee, 1928) In contrast

1999). Homer’s comment mirrors Marge’s view of his artistic ability and reinforces that the cartoon is out-of-place among all the other famous works. Wolf argues that this implies a “parallel that neither Homer’s nor Groening’s productions qualify as art” (p. 102), however I contend that this also alerts us to the challenge of the power of our institutions. For example, in our museums we see great importance on the most basic drawings like

The (-- removed HTML --) is oil on wood panel. Until canvas became a generalized medium, panel was the major form of support for the creation of art. As oil paint has the flexibility and moister-retaining property, it allows Leonardo to blend the colors to create the shades for realistic depictions. Meanwhile, the thickness of oil paints gives the painting a sense of heaviness toward this divine scene. There is no obvious brush strokes on the two characters, Leonardo caters to mimic realistic

What was difficult about creating perspective and why? There was nothing much which was noticeably difficult. The steps to creating perspective were not difficult and the steps to doing it were simple to follow. To create perspective, it was easiest to create the outlines of the buildings while it was easy to create the windows and doors of the buildings, it became tedious to do since there were so many to create for each building. For two of the buildings which I drew, I created a curved outline

The paradoxical element arrives from the usage of mass produced materials like newspaper or wallpaper in the Cubist collages. Through this, he challenges not only the “hierarchical distinctions between high art and mass culture” that would come to be a basis for much of twentieth-century modern art, but also challenges idea of the

around. There is no decorations, just plain white walls. Known for being intimidating and intrusive at times, white background in case of this exhibition helps to direct viewer attention to Celmins’ works, erasing all possible disturbances between art pieces and person, who’s observing them. Indeed every work exists in its own “space”, which allows viewer to have almost personal connection to each object. Placement of the paintings far away from each other creates unique