Category: Art

Boys Don’t Cry denotes an American independent drama film of 1999 whose director is Kimberly Peirce and its co-writer is Andy Bienen. The movie is a performance of the actual-life account of Brandon Teena, acted in the movie by Hilary Swank. In the movie, there is raping, assaulting, and murdering of Hilary Swank by his male friends prior to their discovering that he is actually female.

The film discusses the themes of liberty, empowerment, bravery, and identity. A majority of the performers in the film campaigned for the best actor over the duration of three years. A then unidentified Swank shone, as her character appeared comparable to that of Teena. Many of personalities were anchored in actual-life individuals, while several were composites. Boys don’t cry movie has been mentioned as among the most controversial and discussed movies of 1999.

The movie was released concurrent with the killing of Matthew Shepard, a youthful gay man, which ignited further public concern (Blackman 12- 17). The film brings out the hardships that teenagers experience due to taking part in love affairs. In accordance with the film, love causes people start a long journey of harassment, laughter, and tears. Love in the 1999 American independent drama film Boys Don’t Cry is depicted through desperation and suffering as explicated in this paper.

Brandon (acted by Swank) signifies a youthful ‘man’ who was actually Teena Renae Brandon. At the time that Brandon was identified as a female by a sibling of a lady he at one time dated, he turns out to be a prey to physical dangers. In a short while, Brandon is entangled in a bar war and is thrown out from the trailer of his cousin.

In this regard, Brandon relocates to Falls City where he builds comradeship with ex-prisoners John Lotter (acted by Peter Sarsgaad) as well as Tom Nissen (acted by Brendan Sexton). Brandon also builds a friendship with pals of the ex-prisoners namely Candace (acted by Alicia) and Lana (acted by sevigny).

In the film, Lana turns out romantically engaged with Brandon (Blackman 18- 21). At this point, Lana is not aware of the actual sex and rotten past of Brandon. Both Lana and Brandon decide to relocate to Memphis. Later, Brandon is imprisoned for accusations that came into being before his moving to Memphis and was locked up in the women’s part at a jail in Falls City. Luckily, Lana pays a bail for the release of Brandon.

When Lana inquires from Brandon as to his reason for being locked up in the women’s section, Brandon deceives her that he was a hermaphrodite and that she would soon obtain a sex alteration to become a male. Lana affirms her affection for Brandon at whatever cost. Tom Nissen and John Lotter build suspicion when they find an article in a newspaper concerning Brandon that calls him Teena Brandon. Following their suspicion, Nissen and Lotter compel Brandon to take out his underwear, disclosing his genitals.

After attempting to make Lana have a look at it, she covers her eyes in refusal. Following the conflict Nissen and Lotter take Brandon to a secluded place, where beat, and aggressively rape him (Blackman 22- 24). Later, Brandon was taken to Tom’s residence. Despite injuries, Brandon flees through a window. In spite of threats from his attackers and warning against reporting the assault to the police, Lana is nevertheless able to persuade the troubled Brandon to file a case.

One evening after taking a lot of beer, Nissen and Lotter thought of killing Brandon. In spite of efforts to bar them, Nissen and Lotter head to Candace’s isolated residence where they get hold of Brandon. Brandon has been in a hideout in a shed at the residence of Candace. Lotter shot Brandon at the chin while Nissen shot at the head of Candace. In the meantime, Lana makes efforts to fight them as she shouts in a bid to stop them.

Lotter jabs the already dead body of Brandon while Nissen attempts to shoot at Lana. Luckily, Lotter prevents Nissen from shooting. After this act Lotter and Nissen escapes from the scene. Lana is left lying on the lifeless body of Brandon. The following morning, Lana woke up on the lifeless body of the scene and she carried her psychologically stressed daughter away (Blackman 25- 27). At the conclusion of the movie, Lana leaves Falls City and a correspondence written to her by Brandon is read.

Brandon chooses to leave his original residence subsequent to his thinking that people were aware of his criminal actions. In spite of Brandon being a female, it is hard to understand why he chooses to act like a male. Shockingly enough, Brandon as well lacks a proper explanation as to why he acts like a male. Nevertheless, Brandon is faultless at it and he is decided in dealing with possible gainsay. He chooses to relocate to Falls City where nobody is aware of his actual gender.

In Falls City, Boys Don’t Cry illustrates the element of love through desperation, which suppresses most of the ladies there. Most of the ladies in Falls City are in search of a man who could quench their thirst for love and companionship. In this city, Brandon meets Lana in her desperate state. Lana is in dire need of a man who could satisfy her sexual craving. After evaluating Brandon, Lana finds him kind and handsome. Never before has Lana been so sexually aroused by a man as Brandon does.

In this regard, Lana declares to go after Brandon at whatever cost. After realizing that Brandon is as well desperate for love, they both agree to settle for love and give it a chance to blossom (Blackman 28- 30). Despite learning that Brandon is truly a female, Lana is so desperate that she cannot succumb to this certainty. In spite of the confusion, Lana opts to believe and support Brandon; completely giving him her trust.

Fischer brings about a new reason as to why individuals fall in love (Fisher 23- 26). After evaluating a group of individuals that are totally in love, Fischer wraps up that love is extremely impressed in the brain of an individual. She speculates that sentiments do not portray love through feelings.

An individual could be under puppy love and still be sentimental. Nevertheless, puppy love does not mean that an individual is in true love as it may come out of desperation. In Boys Don’t cry, Brandon and Lana are somehow sentimental. However, this does not signify their love. Sentiments just function as a byproduct of their desperation (Swan 89- 92). Both are in a state of deep infatuation, which makes them sentimental. At some point both Lana and Brandon agree to flee even following their being together for a short time.

Lana is angered by the act of Lotter and Nissen humiliating Brandon. Lana and Brandon are so much in each other’s mind that they cannot wait to fall in love. The two lovebirds do not take time to assess if any of them is true to the relationship. They desire to stay together despite the circumstance. This appears evident when Brandon promises not to disappoint Lana in spite of the pressures from Lotter and Nissen. On the same note, Lana promises to be by Brandon’s side in spite of all abnormalities.

In the end of it all, Lana and Brandon suffer because of love. Lotter and Nissen humiliate Brandon publicly following their realization that Lana cannot give in to the claim that Brandon is neither a male nor a hermaphrodite. Their reason for humiliating Brandon is not based on his claiming to be a male but on the fact that he is able to win the heart of Lana; something that Lotter had tried to no avail for a long time.

On his part, Brandon is totally determined to bear every kind of suffering and he declares not to vacate Falls City without Lana. Boys Don’t Cry illustrates a bitter end of individuals who seek to go beyond all odds in a bid to gratify life craving through love (Blackman 31- 36).

Hatfield and Walster affirm that during a love incidence everybody is skillful (34- 45). They maintain that in a bid to be in love with someone of the opposite gender, individuals regard aspects such as money, individuality, and physical look. They affirm that love and affection could be either obsessive or companionate. Obsessive love is sentimental and full of uncertainty and concern (Hatfield and Walster 34- 45).

On the other hand, companionate love is illustrated by a strong affection and connection towards a person. In the film Boys Don’t Cry, love is illustrated through suffering and confusion. As Hatfield and Walster (34- 45) affirm in their publication, obsessive love is packed with suffering. These aspects emerge almost entirely in the movie. Lana in reality is aware that Brandon is not a male after being in love for a long time. Throughout the entire period, Brandon has been deceiving Lana and taking her for granted.

Nonetheless, Lana talks about how she takes pleasure in their affection and is confused. Lana is so obsessed with Brandon that she cannot discover deserting him at this time even following such obvious actuality. For a long period, Lana had never encountered a man who would make her experience love or one that would treat her with affection.

Brandon comes into view and he satisfies all that Lana had been longing to have for a long period (Blackman 38- 43). After some time in love, Lana comes to know that Brandon is a female. This result in Lana’s confusion as to whether to let go all the happy instances she has with Brandon or to disregard the allegations and progress with their relationship.

Her alternative to stay devoted to Brandon, in spite of the betrayal depicts the condition of confusion and suffering that is brought by love. When people fall in love, they turn out to be so obsessive that they are not able to the way existence could be without each other. In addition, it becomes almost impossible for persons in love to believe that they could ever again fall for such a wonderful individual (Karen 34- 38).

Having sought for a man that makes her satisfied, Lana believes that she may never find another individual like Brandon. Therefore, Lana suffers with the notion of ending their love or continuing in it.

Love is depicted through suffering and desperation. Suffering is what makes Brandon relocate to Falls City and search for a lover in a bid to forget concerning his past. His past life is filled with negativity and he desires to forget concerning it and progress in life.

Despites his awareness of what Tom Neisser and John Lotter are capable of, Brandon suffers between deserting Lana and maintaining the love. Brandon has aided him to overlook a lot things and he has a feeling that deserting her could cause him relapse to his past life. Boys Don’t Cry illustrates the suffering of Brandon on whether to confront Nissen and Lotter and spare his love or desert Lana.

The suffering heightens more with the raping, beating, and murdering of Brandon. The affirmation to stay in the city if he cannot relocate with Lana depicts an element of desperation. A state of desperation is also evident when Lana vows to remain with Brandon even after learning of his deceit. The two believe they are the reason for each other and that life would be worthless without their togetherness.

Works Cited

Blackman, Malorie. Boys Don’t Cry, New York: Corgi Children’s, 2011. Print.

Fisher, Helen. Why We Love: The Nature and Chemistry of Romantic Love, London: Holt Paperbacks, 2004. Print.

Hatfield, Elaine and William Walster. A New Look at Love: A Revealing Report on the Most Elusive of all Emotions, New York: University Press of America, Inc., 2003. Print.

Karen, Robert. Becoming Attached: First Relationships and How They Shape Our Capacity to Love, New York: Oxford University Press, 1994. Print.

Swan, Rachel. “Boys Don’t Cry.” Film Quarterly 54.3 (2001): 47-52. Print.

My experience watching ‘legally blonde’ was one not to be reckoned with, despite the fact that the play took place in a well-known community theatre, it did not match my full expectations of how a good production of ‘legally blonde’ play ought to be performed.

Generally, I would rank the play as below average. One of the major reasons why it was a poor performance is due to lack of proper portrayal of charm by Elle Woods who according to the original musical production uses them to get to Harvard. The character in this play was rather dull and kept on pausing in between her speeches. It was clear that she had not mastered her lines.

The script represented an original ‘legally blonde’ script and therefore the author of the script did a commendable job because he included all the roles in the play and interpreted every scene in the play correctly. The vital theme in the production script from the author’s original work is the theme of love, perseverance, and loyalty, which were all included in the script. Therefore, the author of the script had his role well cut out.

Another shoddy aspect of the production is the casting which was poorly presented because the main characters Elle Woods and Emmenet Forest were not well represented. The actor who played Emmenet did not portray a smart, honorable part as required. Instead, he seemed to struggle with the role while Elle Woods on the other hand lacked the energy that qualifies the role of original Elle Woods. Misrepresentation of these qualities diverted my attention from the play at some point.

The set was perfectly done and every location in the original play was included in the stage. From my own judgment, the set was complete and it matched my expectation of a ‘legally blonde’ production and stage arrangement.

Could I see everything? Yes, the theatre was well equipped with the latest lighting systems. The background lighting, area lighting and other latest techniques that enhanced toning and blending were employed. This helped to enhance the characters skin tone and reduced shadows on their faces. Therefore, visibility was perfect and heightened the mood in the play.

The costumes were well done to suit the play. The use of bright colored costumes enhanced visibility and clarity. The costumes also matched the appropriate time of the story and the use of wigs help to identify Ellen Wood who was one of the main characters portrayed as a ‘blonde’.

In my opinion, the props were well represented as required in the play. The use of a background screen that kept on changing to suit different venues in the story enhanced the originality factor; this managed to catch my concentration in the play. Also the furniture used was appropriate for the different scenes in the play.

The sound was perfect, and audible enough to follow the play. There were no echoes and, it managed to keep my attention on the play to the end. The sound equipment ensured clarity and enhanced the mood. The use of music matched the different events in the story ranging from the sad moments to the happy moments. This made the play a bit more interesting.

Generally, the acting was poor despite having high quality equipment and nice venue. The first major loophole started with the characters. To be more specific, the main characters Ellen Wood and Emmenet lacked energy and smartness qualities respectively; therefore, the originality of the play was not expressed.

According to the play, every character was present but they did not play their role as required to qualify a typical ‘legally blonde’ narrative. I did not believe in the play due to poor role representation by the characters. In my own opinion, the characters in the play were not well prepared.

Introduction

African art history can be regarded as foundational, being the cradle of human civilization. Therefore, African art played a crucial role in developing cultural and historic landscape of the entire world. The origins of African culture dates back to the prehistoric times, starting from representation sculptures and rock art. The African studies reveal the earliest sculpture art that was discovered in Nigeria. These artifacts date back to 500 BC.

The scarcity of archeological research restrains the knowledge of antiquity of artistic forms on the continent (Looking at and Seeing African Art n. d.). At the same time, archeological discoveries point to a wide variety of raw materials that have contributed to time disintegration. Apart from the abundance of historic evidence, African history can be proud of the contributions that the Egyptian civilization contributed to its artistic heritage.

Purpose of the Research

Because the African art is mostly premised on representing visual culture of the continent, the main purpose of the research consists in defining the early forms of African art, main materials used, major influences, and the main themes explored within the established context. It is also purposeful to explore the role of the most ancient culture on the development of new artistic forms.

Main Discussion

Establishing the Temporal Frames of Early African Art

The first evidence pointing to the rise of African art refers to the development of Nok Culture shaping the ancient Civilization between 500 BC – 200 AD. Discovered in 1928, the examined artwork represents a mixed style that employed a range of iron –utilizing societies of diverse culture, undermining the claim that Nok people were distinguished by one feature.

The archeologists also state that the Nok Terracotta figurines originate from the small village located in sub-Saharan region. The historic evidence proves that the refined style of this culture is represented by the image of dignitary figurine (Nok Culture n. p.). In the Picture 1, it is possible to see the earliest sculpture, the Terracotta Nok Head dating back to 500 BC. Although the sculpture refers to ancient civilization developments, evidence of much early artifacts exists.

This is of particular concern to the oldest rock images left in Namibia caves nearly 24,000-27,000 years ago (Thebe 18). Other than that, the expert archeologists note that the African rock art can refer to much more ancient times. In order to get a better idea of the historic period, it is purposeful to consider various themes, forms, and influences represented in the rock art.

Major Themes Explored Among the Artifacts

Rock Art

The history of rock engraving and painting art is ambiguous due to the scarcity of archeological findings. Artworks on rock walls are quite vulnerable and, therefore, few rock paintings preserved up to our modern times (The Metropolitan Museum of Art n. p.). Despite this, the slabs of rocks with historic painting were found in Huns Mountains of Namibia, in the Apollo 11 Cave.

The rock stones were pained in ocher, white, and charcoal (The Metropolitan Museum of Art n. p.). Incised stones were also discovered at the Wonderwerk Cave in the Northern Cape, in South Africa. The findings suggest that the engravings refer to the ancient history of the continent.

As it has been briefly described about, the earliest mentioning of rock art in Africa refers to prehistoric times. In particular, Sahara Rock Art is split into four periods – Bubalus period (8000-7000 BP), Pastoral Period (6000-2200 BP), and Horse Period (3,200-1,200 BP), which is divided into chariot and camel sub-periods (Saharan Rock Art n. d.).

The rock carvings of Bubalus or Archaic period lies in representing large animals, including elephants, buffalo, giraffes, antelopes, and hippos. Many of the animals depicted on the rock surface are now registered as extinct (See Picture 2: Engraving of an Animal). The Pastoral period is associated with smaller representations of animals and humans that are done with white and red ochre pigments (Saharan Rock Art n. d.).

The depiction of human looking after cattle provides evidence on the advancement in development of human activities (See Picture 3: Herdsman and Cattle). Greater accuracy in details demonstrates humans with weapons, pointing to the rise of hunting activities. Horse period introduces paintings with humans on chariots and animals (Davis 8). The main feature of this historic stage consists in representing human figures in a bi-triangular form and appearance of horse-drawn chariots and small weapons.

Sculptures

The earliest forms of sculpture are terracotta pottery heads originating from Nock Culture. Made from cast metal, the figurines were discovered in Nigeria, the region of the richest history of ancient sculpture in Africa (History World n. p.). The history relates to fifth century BC to depict the first sculpture artifacts, which developed into sophisticated forms 2500 years later, during Renaissance upheaval in nineteenth century and cubism movement in the twentieth century.

Textile and Weights

Textile production also contributes to understanding and time frames of African art history (Textiles and Personal Arts n. p.). The oldest textile remnants refer to Igbo-Ukwu culture found in 9^th century AD whereas caves in Mali were discovered with woolen and cotton cloths in eleventh century.

The ancient themes and mechanisms of producing textile has been preserved in modern times. Specific attention requires the ornaments and themes depicted on clothing. In particular, the dominating techniques involved tie and resist dyeing, direct fabric painting, and weaving. Since the ancient times, patterns and motifs represented on clothing signify personal status and group identity of African tribes.

According to Bortolot, the textile arts were considered the markers of dominion whereas the actual process of weaving had ceremonial and mythological meaning (26). In Akan mythology, for example, the attention is given to the spider Ananse, which is regarded as the original weaver. Therefore, the weavers had to follow specific requirements and ritual during production.

Egyptian Ancient Art as Part of African Artistic Heritage

The Egyptian civilization emerged more than 5000 years ago. It rich culture is known worldwide due to the rich ancestry it contributed in production, mechanical engineering, and traditions (Tyldesle n. p.). Specifically, the archeologists and historians’ interest in pyramids was great due to the complexity of construction techniques. In fact, the first pharaohs’ tombs were constructed approximately 3000 BC (Tyldesle n. p.).

Djoser’s Step Pyramid was among the first buildings whereas the Great Pyramid of Khufu appeared a century later (See Picture 4: Djoser’s Step Pyramid). The most ancient pyramid has a stepped-like structure. The main value of these architectural memorials lies in the possibility to trace the evolutional process from prehistoric graves to the pyramids (Tyldesle n. p.). The symbolic meaning of the mastaba tombs is that of creation and it is often regarded as a way to heaven.

The Great Pyramid of Cheops was built on the Giza plateau. Its foundation is made of bedrock with a limestone quarry (See Picture 5: The Great Pyramid). The construction is distinguished with great precision, although its size is impressive (Tyldesle n. p.). The tomb of Cheops has three chambers – the Subterranean Chamber, Queen’s Chamber, and King’s Chamber – that are connected by the passageway system.

Although pyramids can tell about lives of Egyptian pharaohs whose burial chambers are supplied with symbols of privilege and wealth. However, little information is known about ordinary people who directly participated on the construction. The mystery of pyramids building is still on the current agenda.

Later Representations of Prehistoric Art in Africa

It can be stated that African art is represented through sculptures, crafts, and ceremonial masks introduced by tribal cultures, as well as African culture developed during colonial times. African art, therefore, is more associated with sub-Saharan art, North African art, and Egyptian heritage. For instance, the earlier terracotta figurines are also represented in 12^th-14^th century. Specific attention requires Ife (Yoruba) figurine originating from Nigeria (See Picture 6: Shrine Head, Ife, Nigeria).

The flashbacks from the ancient times were also introduced by the African architecture, which is not represented by pyramids only. In this respect, specific attention should be given to the constructions of Great Zimbabwe, Mande, Oualata, and Cameroon. The main characteristics of ancient architecture are revealed through use of granite slabs, monumental stone structures dating back to 1000-520, and massive stone masonry (Looking at and Seeing African Art n. d.).

The mud architecture is introduced in Mande with parapets and buttresses. The architecture of this region started refers to a 1700-100 B.P. The period is also known for tomb structures, minarets with towers over the roofs. Mauritanian style of African architecture is introduced by stones that are covered with adobe. Motifs reminded the Arabic strip and are now as arabesques in modern culture.

Conclusion

Overall, African art embraces one of the greatest achievements of humanity. In particular, sophisticated mixture of visual culture with spiritual believes introduces the main essence of African artistic heritage. Its technique introductions and artistic perfection testifies to the humanities’ creative ingenuity.

Religious and cultural beliefs also reproduced through artistic objects not only in figures and masks, but also in their application in various ceremonies and rituals. While exploring the historic evidence, including sculptures, rock paintings, figurine, statues, and masks, it is possible to explore the main themes, activities, and other important information about African culture and history.

In particular, the rock painting point to the development of African civilization, from hunting to cattle breeding. The painting involves predominantly depictions of various animals and humans. The sculptures allowed the historian to define the physical appearance of people living thousands years ago. The Egyptian civilization has also made an incredible contribution to the African artistic ancestry.

This is of particular concern to the first pyramids and the mystery of their construction. The prehistoric arts traces its further representations in later artistic forms introduced in African culture. Such perspectives are typical of architectural forms, clothing, ceremonies, and use of materials. Being the cradle of the civilization, African culture is considered to be among the richest ones because of many sub-artistic styles and influences that are still brightly represented in modern art of other cultures.

Works Cited

Bortolot, Alexander Ives. “Asante Textile Arts”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Print.

Davis, Whitney. “Representation and Knowledge in the Prehistoric Rock Art of Africa”. African Archaeological Review. 2.1 (1984): 7-35. Print.

History World. History of African Art. Web.

Looking at and Seeing African Art. Web.

Nok Culture. The Nok Terracotta 500 BC – 200 AD: The #1 Magnificent History of Ancient Civilization. Web.

Saharan Rock Art. Web.

Textiles and Personal Arts. Web.

The Metropolitan Museum of Art. Apollo (ca. 25,500 – 23,500 BC) and Wonderwork (ca. 8000 BC) Cave Stones. Web.

Thebe, Phenyo. The Rock Art of Southern Africa. Web.

Tyldesley, Joyce. “Development of Pyramids Gallery”. BBC History. 2011. Web.

Appendix

Picture 1: Terracotta Nok Head

Picture 2: Engraving of Elephant

Picture 3: Herdsman and Cattle

Picture 4: Djoser’s Step Pyramid

Picture 5: The Great Pyramid

Picture 6: Shrine Head, Ife, Nigeria

Jackson Pollock’s painting is distinguished all over the world because it explores a certain type of automatic, mechanical technique that pleases surrealists at irregular intervals. The paint is used a device rather than end because of its ability to produce the desired design. Evaluation of the paint shows that the painter loaded weighted strings, which reconstructs a solid network on the work of art.

The silvery paint that shines out of the dense egg-shaped tracery implies a gorgeous astronomical product. The works of Pollock shows an advanced skill in the field of modern paining. This is due to the advanced stage of disintegration. Disintegration is made possible through liberation and cathartic effect. Disintegration is clued-up by a highly individualized cadence. The painting has a main intention of assaulting the image-making sense.

At each point of attentiveness of these high-tension instances of bravura phraseology, which visually are similar to nervous spirals of snide wire, there is an unsatisfactory deficiency of resolution in a picture or graphic event for all their supernatural dispersal of power. It is even exciting to realize that the personal canvases in the paint presume a completely image-making action and singleness of the characteristic (Karmel 47).

Particularly, Pollock brought out the illogical excellence in picture making to one edge. It is a type of expression and a hazard for imitators in such a straight objective expression of states of being as compared to thoughts and meaning. Even in his scenario, the painting is not conceivably sustained by a uniting or main subject or practice and is too wasteful with bunches of surrealist perceptions.

What does come out is the large scale of Pollock’s processes, his extremely individualized cadence, and in conclusion something like an unadulterated calligraphic symbol for a devastating belligerent virility. There are textural revelations in Jackson Pollock’s newest sailcloth team. If they are not sailcloth, there is nothing the uneven picture that looks like the dark and light tinted sails in the Bay of Biscay or the Riviera. The Riviera contains incredible and oft-repeated twisting lines indecipherable across them as if raged by winds of the sea.

The best ever panel in Pollock’s illustration at the Parsons Gallery is an energetic prototype of forceful black and white with noticeable strokes of yellow, blue, and an infrequent red. The majority of Jackson Pollock’s works of art at the Betty Gallery look like nothing so much as a cleanup of knotted hair. One or two of them seem to be ordered and remarkable.

Comparison with Modernist Ideals

Modernist ideals refer to the modern view points in the field of painting. It refers to the modern practices employed by painters, which are more appealing and attractive as compared to the previous forms of paintings. In broader sense, modernism refers to a revolution that subscribes to the reasoning of modern painters as opposed to old, rigid practices that never appreciated inventions and innovations.

Modernism emerged after the 19^th century meaning that the field of painting was responding to the new changes brought about by industrialization, urbanization, and globalization. The rapid growth of cities could not allow painters to continue using the old systems and practices but instead they had to employ new forms of paintings.

Clement Greenberg is considered the advocate of modernist ideals because he always criticized the views of conservative painters. His reasoning supports the works of Jackson Pollack on Phosphorescence. First, the reasoning of Pollock and Greenberg are similar in the sense that they both reject realism in the field of painting.

They do not subscribe to the views of realists but instead they utilize the findings of earlier painters to design the paintings that withstand the taste of time. In this regard, they employ the works of the past by applying reprise, incorporating old ideas into the new findings, rewriting the works of previous scholars, recapitulation, revising the previous findings, altering the previous painting techniques to suit the demands of the modern customer (Hopkins 12).

It should be understood the Greenberg and Pollock do not subscribe to the ideas of realists because of their claims that the works of art, particularly painting, do not change. They both have a standpoint suggesting that change is inevitable in every field of study or profession.

Greenberg noted that Emmanuel Kant was the first modernist because he went against the views of traditional philosophers by suggesting that theories must be falsified for them to be accepted as real theories. In the same way, Greenberg suggested that paint should be able to accomplish its intended purpose for it to be accepted.

The two were optimistic other forms of production would one day overtake that modern since change would never be prevented in any human society. In this regard, other forms of paintings that would suit the demands of society at the time would replace modernist ideals. Pollock suggested that it was the role of other artistic scholars to develop his ideas in order to come up with the most appealing paints.

Works Cited

Hopkins, David. After Modern Art 1945-2000. Oxford: Oxford University Press, 2000. Print.

Karmel, Pepe. Jackson Pollock – Interviews, Articles, and Reviews: [publ. in Conjunction with the Exhibition “jackson Pollock” … the Museum of Modern Art, New York, November 1, 1998 to February 2, 1999]. New York: Abrams, 1999. Print.

The Shawshank Redemption (1994) is one of the best films ever made as it teaches several important lessons about life. It also teaches a lot about business. The movie tells a story about a successful banker who is accused of murder. He is sentenced to two life imprisonments. He becomes an inmate in the Shawshank prison, where his persistence and wits help him survive and become free.

It is necessary to note that the prison is a very specific place where the right and the wrong are somewhat distorted. Therefore, entrepreneurship is manifested in a very specific form. Nonetheless, it is still possible to identify at least three archetypal entrepreneurs in the movie.

In the first place, this is the protagonist, Andy Dufresne, who is a successful banker. He is a well-educated professional who can make money. He sees a lot of business opportunities in many situations. He assists the chief guard to avoid paying much in taxes.

He also develops a business scheme for the warden. Andy can be characterized by such qualities as resourcefulness, persistence and ability to analyze risks. Andy is resourceful as he has loads of ideas. He is persistent as he continues working on his major project, i.e. his escape from the prison. He also can analyze situations properly and he understands which risks should be avoided.

Another entrepreneur in the film is the warden, Samuel Norton. Of course, it is necessary to note that only the general idea of entrepreneurship is used. Norton decides to start up a business and take some risks in order to gain profit. His business is illegal since he uses inmates as workforce and gets kickbacks from his clients. Remarkably, Norton can be regarded as an example of a bad entrepreneur. Apart from starting up an illegal business, he has qualities which make him unsuccessful. Norton is able to see business opportunities.

Thus, he uses Andy as his tool to make money as Andy generates business ideas. However, Norton is not quick-witted enough. He has to rely on his subordinate. At the same time, he does not understand that he puts too much pressure on the subordinate and forces him to start up his own business. Norton also fails to analyze risks properly. All these factors lead to his total failure. His illegal activity is revealed and he kills himself to avoid imprisonment.

One more entrepreneur is Brooks who is a well-educated man who can manage specific operations. He manages the prison’s library and he is able to live quite a good and peaceful life in the prison. Nonetheless, he is absolutely unable to adjust to new circumstances. When he is freed on parole, he cannot start living a new life in the world which has significantly changed. He commits suicide.

These three archetypal entrepreneurs can help people to learn more about successful entrepreneurship. Thus, if one has to rely on somebody, it is necessary to be sure that there is loyalty and transparency.

It is also important to analyze risks properly. It is essential to adjust to the changing environment as it is vital in the contemporary business world. Finally, it is necessary to be persistent and never give up working on projects. Basically, Andy Dufresne can be regarded as a model entrepreneur who is resourceful, well-educated and persistent.

There are wide variations in regard to time periods and genres as far as art works are concerned. It is worth noting that some art works were founded on individuals’ minds or cultural and social influences.

In addition, other art works were as a result of an influence from the features and styles used during previous periods and were a reaction or continuation to the artistic styles. The link between the renaissance and neoclassical art eras will be examined. There will be an analysis and discussion of whether there was a reaction to or continuation between the two art periods.

Renaissance, characteristics, and social conditions that led to the advent

The word renaissance is a French term. It came up during the nineteenth century and elaborates the rebirth of a period that occurred between the fourteenth and seventeenth century.

The artists during this period emulated the works of art from artists before this period. In addition, they incorporated color and light via novel dimensions. During this period, there was innovation of the sense of space and perspective that allowed viewers to view in 3- dimensions. Art was fundamentally inspired by sacred and commissions motivations (Rachels & Rachels, 2007).

Some of the notorious artists during the renaissance art period included Raphael, Leornardo, and Michelangelo. The art works done during this period were elaborated in that they included more than the vanishing point, horizontal line, and linear perspective. The artists during the renaissance art period had a keen interest in the way light hit objects and consequently formed shadows (Rachels & Rachels, 2007).

The light and shadows played a great role in attracting viewers to particular areas on the object. The artists also wanted the viewer to get involved emotionally as he looked at the object and, therefore, get encouragement and faith. The artists also invested greatly in naturalism and realism. For instance, they wanted images of people to appear more realistic. The images were solid and showed real emotions. This made the viewer to start thinking about what the people were feeling or thinking.

Neoclassical, characteristics, and social conditions that led to the advent

Neoclassical art refers to a form of art that was exceptionally unemotional and severe. Its rigidity was closely associated with the Baraque and Rocco styles. It was as a result of the renewed interest arising from the classical period. This was greatly beneficial to a number of revolutions. Romanticism emerged in the 1800s as a reaction to neoclassicism and some of the famous artists during this period included Robert Adam, Bertel Thorvaldsen, and Anton Rapheal Mengs.

The key characteristics of the art works during the neoclassical period included stern heroism, lack of emotions, and seriousness. The artists often used sombre colors and brilliant highlights that portrayed self- sacrifice and self- denial. The neoclassical period had distinct features of the structure and form used during the classical art period.

In addition, there was clarity and realism (Rachels & Rachels, 2007). It is worth noting that similar to the renaissance period that had connections to the social situations and political structure, the neoclassical period had a direct connection to the political events. Neoclassism was linked to the French Revolution beliefs.

Similarities and differences between neoclassical and renaissance art periods

Whereas the artists during the neoclassical period aimed at recreating the classical art period, which was the Romans’ and Greeks’ style, the renaissance period was basically a rebirth. During the renaissance period, people started considering science as a way of answering questions and receiving information. Previously, only religion was used. The neoclassicists were in search of a simple way of thinking that was not chaotic.

Continuation of the previous historical art period

During the neoclassical period, artists wanted to bring about advancements as was the case during the neoclassical period (Rachels & Rachels, 2007). During the two periods, there were great advancements in visual arts, music, painting, and architecture. In addition, the fame associated with artists during the renaissance period continued during the neoclassical period as a result of the artistic philosophies and ideologies experienced.

Specific works

During the renaissance period, Michelangelo came up with a masterpiece referred to as David. In addition, the Psyche Revised by Cupid’s Kiss was created by Antonio Canova. The renaissance art was represented by David through an impression of the political scenario that prevailed. On the other hand, the Psyche Revised by Cupid’s Kiss was a depiction of the artist’s concentration on the classical arts and Romans (Rachels & Rachels, 2007).

Relationship between the works

The two works of art discussed reflect huge artistic developments. Irrespective of the fact that the two periods were a representation of great advancing periods as far as art was concerned, the artists and art purposed on extremely varying things.

During the renaissance period, artists focused on the political systems, social situations, and culture. The art was created from the social conditions that contributed to the political system in Europe. Hence, it is evident that the link between neoclassical and renaissance cannot be underrated.

References

Rachels, J. & Rachels, S. (2007). The elements of moral philosophy (5th ed.). New York: McGraw-Hill.

The Three Works

Admittedly, Greek and Roman art traditions have affected the development of the contemporary arts. At present, it is possible to find Greek and Roman traits in many works of modern artists. Our campus is also decorated with works which are influenced by Greek and Roman arts. It is possible to consider such works as Night Without Dawn, Mona, Irish Mother and Child by Glenna Goodacre. These bronze works bear characteristics which are associated with Roman and Greek arts.

Greek Roots in Irish Mother and Child

Irish Mother and Child can be regarded as a work inspired by the Bronze Age in Greek art. The figures are quite idealistic, which was a characteristic feature of Greek art at that period. The faces have perfect proportions, especially when it comes to the girl. The faces are quite distant and no meaningful emotions can be traced.

The absence of emotions is obvious and it is even stressed as the figures are depicted in motion. The child is holding her mother tightly. Therefore, it is possible to state that this work is more Greek in nature as it is characterized by major peculiarities of the Bronze Age in the Greek ancient art, i.e. people are idealized, people’s emotions are not depicted.

Roman roots in Mona

On the contrary, Mona is characterized by great tension and particular realism. In the first place, this is a bust depicting an ordinary person. It is not a deity or some famous personality. Depiction of ordinary people is a characteristic feature of Roman, not Greek arts. Apart from this, the face is depicted with a specific precision.

There is no trace of an idealistic depiction of youth and beauty, which was typical for Greek arts. Mona is an old person who had a really hard life. Every hard year is revealed in numerous wrinkles. The expression of the figure’s face shows present suffering of the person. Thus, it is possible to note that the present artwork is inspired by Roman arts as Roman bronze works are associated with realistic depiction of ordinary people. More so, emotions and aging were quite central to Roman works.

Roman Roots in Night Without Dawn

As far as the third work is concerned, it also bears Roman traits. In the first place, the sleeping figure is very realistic. Again, there is no idealistic depiction of perfect forms and perfect faces. The face of the figure bears traits of aging and suffering. One more characteristic feature of this work is that it does not depict a famous personality or deity. This is an ordinary person who is overwhelmed by hardships of his ordinary life.

Conclusion

On balance, it is possible to note that the three works are quite similar as they bear traits of Roman and Greek arts which shared common values, i.e. exquisite depiction of people. However, the work Irish Mother and Child differs from the two other works as it bears Greek traits.

The figures are depicted in quite an idealistic way and no emotions are revealed. In contrast to this work, the other two works follow Roman tradition. Ordinary people are depicted and the major focus is on facial expressions and realistic depiction of people’s emotions as well as appearance. Of course, it is also necessary to note that even though the works bear traits of Greek and Roman arts, these are artworks reflect trends that reign in the contemporary society.

The avant-garde ballet The Rite of Spring became the cultural sensation of 1913 and changed the traditional vision of the art of ballet. The music for the ballet was composed by Igor Stravinsky, and the ballet was based on the choreography by Vaslav Nijinsky. The first public reactions to the ballet were rather negative because the approach to music and choreography was unordinary, and the audience was shocked with such a rigorous interpretation of the classical ballet standards.

Thus, Stravinsky’s music depends on dissonance effects and changes of rhythms where melody is not the main aspect, the intensity of harsh sounds and uniqueness of music are accentuated with the help of unusual choreography where steps and movements are not elegant and light as it is in the classical ballet, but heavy and aggressive.

The first part of the ballet includes the specific musical moments when heavy sounds resemble the thunder and emphasize the idea of violence significant for depicting the theme of the barbaric sacrificial ritual. The sounds of thunder are created with the help of the timpani.

The changes in timbre and rhythm are associated with Stravinsky’s using bitonality to accentuate the sounds’ dynamics and a kind of dissonance. The sounds of the timpani are correlated with the powerful percussion sounds of bass drums and cymbals which are rather irregular, and they intensify the most dramatic moments of the ballet.

The flute trills also draw the public’s attention by their high sounds, but the most noticeable feature is the irregular rhythm when all the sounds change each other without basing on the fixed melody, but on unexpected climaxes and collapses in musical tunes. The loud and intensive sounds are changed with lights sounds, and the whole musical picture of the ballet is rather unpredictable.

The characteristic element of the ballet is its vivid combination of steps and musical moments. Thus, the most dramatic musical moments are accentuated with definite steps where jumps and claps are significant to express the intensity of the sound.

The loud sounds are associated with aggressive, but rhythmic and intensive steps, and the light sounds are associated with more fluent dances. It is possible to speak about the fact the movements and steps help people percept the intensity of music, and the effect of terror decreases without references to movements because the music irregular rhythm becomes more obvious.

Comparing The Rite of Spring with such classical ballet as Tchaikovsky’s Swan Lake, it is important to focus on the melody and rhythmic structure of the music. The composers use different approaches to the ballet music. Stravinsky’s music is not stable, and the rhythm changes.

The sound dissonance prevails, the melodies have the irregular accents, and they cannot be predicted, sounds are rather loud and unexpected. In contrast, the melody of Swan Lake is elegant and rather traditional, with smooth melodical shifts, and the dissonant chord is not characterized for this music.

In 1913, the audience was shocked because all the rules and principles of the traditional ballet were broken in relation to both the music and choreography. The music and the performance were discussed as unpleasant and even abusive. The choreography was unusual and unnatural, and the ballet’s theme was provocative.

In spite of the fact the avant-garde choreography is familiar for the modern audience, the performance can be still discussed as controversial because it is the vivid example of violating the traditional norms and rules. The scenes of sacrifice, the intensive music, and aggressive mystic dances make people feel upset even today. That is why, The Rite of Spring remains to be one of the most provocative ballets in the history.

The photograph titled Richard Koboyashi: farmer with Cabbages, by world-renowned photographer Ansel Adams, depicts a Japanese farmer holding two cabbages (Adams 1). The creative response below is a result of a keen interaction with the photograph.

Creative Response

The year was 1943; two years after the Japanese invasion on the Pearl Harbor. Richard Koboyashi, one of the hundreds of Japanese evacuated from the Pacific Coast had already adjusted to life in the relocation center and had established himself as a cabbage farmer in the area. From a small parcel of land, he managed to grow several thousands of cabbage heads for sale to fellow residents in the camp. Over time, word of his exploits had spread across neighboring towns, attracting the attention of celebrity photographer Ansel Adams.

Adams tracked Koboyashi to his farm and after introducing himself, he indicated that he would like to have the farmer pose for his new series of photographs. “I am going to call the series, Resurgence,” Adams said. Because Adams had not brought his cameras with him on this introductory visit, they agreed to hold the photo-taking session the following day.

As Adams drove away, a crowd of children gathered around Koboyashi seeking to find out what the strange white man with a big truck wanted. Koboyashi informed them that he was a good man and that very many people in the country knew him. “He was told that I am very good at planting cabbages and he wants to make me famous,” said Koboyashi. “How will he make you famous?” asked a young girl in the group.

“He will take photographs of me and show them to people around the world. Who knows, maybe he will get them in the newspaper,” answered Koboyashi. “I hope to be very good in farming, so that I can have my picture in a newspaper like your Mr. Koboyashi,” said the young girl. Koboyashi smiled at the innocence in the children’s eyes and then dismissed them, saying that he had to prepare for the big day. “When you are big enough, I will show you how to till the land-and how to grow the best cabbages in the world,” said Koboyashi. The children walked away in a pack, with some intermittently looking back to admire Koboyashi.

Things were happening very fast for Koboyashi. Just a few years ago, he was a struggler, trying to find acceptance in a country where people from his race were regarded as enemies. Now, here he was, about to become a celebrated Japanese farmer. He was already picturing himself in a newspaper, with a professionally-written article telling his story. The thought was just too consuming and to keep time going, Koboyashi decided to the select the clothes he will ware for the photo-shoot.

Because he spent most of his time in the farm, he had not had time to buy new clothes but he was sure that if he rummaged through the pile that lay in a heap in one corner of his bedroom, he would come up with a decent combination. After careful selection, he settled on a blue pin-striped suit and a grey pair of leather shoes. He also toyed with the idea of wearing a tie, but later dropped it and opted for a plain white shirt.

Adams drove into Koboyashi’s compound the next day at 10am to be received by a crowd of people, all of whom had already gotten wind of his mission. As he unpacked his camera and lighting equipment, Koboyashi emerged from the house grinning from ear to ear. His sharp suit almost made Adams fail to notice him as he moved forward to shake his hand. Appearing perplexed, Adams informed him that he had expected something different. “I honestly did not think I would find you in a suit,” said Adams.

Adams already had the picture he wanted in mind but he did not want to hurt Koboyashi’s feelings by telling him that the suit was not necessary. So, he decided to play along-at least for the first few shots. So, he assembled his equipment-a plain backdrop, two multi-focal lamps and his camera (on a tripod stand).

The man of the moment was then ushered into focus and told to pose. Adams already knew that he would not use the first photos and instead of wasting his film, he just let the flash go for every “boss-like” pose that Koboyashi came up with.

After five shots, and noticing that his battery was running low, Adams took Koboyashi to the side and told him that they needed to get a different set of shots. “Can you dress up the way you do when you go to the farm?” asked Adams. Koboyashi looked at him surprised, wondering why Adams wanted him in his usual farmer’s clothes. “People need to see that you are a real farmer. We do not want them to start questioning whether you actually plough land or you are just another model,” explained Adams.

Koboyashi saw sense in Adams’ reasoning and proceeded to jump out of his suit and replaced it with a worn out khaki trouser, a blue shirt and a black oversized jacket made of canvas. To complete the look, he placed a hat on his head and stepped out of the house. “How do I look?” He asked jokingly. “Perfect. Like a real farm should look,” answered Adams. “Now if you don’t mind, please step onto the set,” said Adams.

Koboyashi stepped into the camera’s focus, just in front of the backdrop and stood there with his hands hanging on the sides. Adams, speaking from behind the camera asked him if he was comfortable.

This was because there was as plastic smile on his face. “It feels weird having my hands hanging on the side, through this big jacket,” said Koboyashi. “I think I should hold something,” he went on. “Good idea!” exclaimed Adams. “Wait here,” said Koboyashi as he rushed in the direction of his farm. In a minute, he had returned with two huge heads of cabbage in his hands and assumed position in front of the camera.

Clearly in his element, he held the cabbages on either side and smiled. Adams only took one shot and he was convinced that it was the one that would get the world talking. He packed his equipment, thanked Koboyashi and hopped onto his car and drove away. Two weeks later, the post-man delivered a package to Koboyashi’s house, which the Japanese man hurriedly opened. Inside was one big photograph-of him holding two cabbages on his side.

Works Cited

Adams, Ansel. “Richard Koboyashi: farmer with Cabbages” 1943. Web.

The Romeros is a Spanish guitar quartet founded in 1960s by Celedonio Romero. The quartet comprises members from the Romero family. Breathtaking talent and mastery of musical concepts characterize the group’s performances. They had recorded their first songs by the time they were seven years old.

They relocated to the United States from Spain in 1957. The group has undergone different changes in its membership involving replacements in several instances. Currently, the group is composed of Pepe Romero, Celin Romero, Lito Romero, and Celino Romero. Performances for the Romero return concert took place at the Copley Symphony Hall in San Diego. Performances were from Friday May 17 to Sunday May 19, 2013 and the dominant feature was Spanish music that characterizes the quartet’s genre.

The venue of the performance was the Copley Symphony hall in downtown San Diego. It was elegant and casual, adding to the aura of the event. The fact that the Romeros identify as the masters of the guitar attracted many people to the concert. The quartet did not let down their fans because they gave a sterling performance. Their supporting group, The Concierto de Malaga String orchestra did a good job of supplementing their excellent skills.

The orchestra and the performance by the conductor, Jahja Ling moved the crowd. The program of the performances included an array of different music tastes that included Christmas carols and Spanish classical music that made it appropriate for people of all ages. However, most of the attendees were older people. Frequent coughing and sneezing interrupted performances, which was a put off to many fans. Young people were few as classical music is common among the older generation.

The performances were stunning because of roles played by each member of the quartet and orchestra. Jahja Ling was the conductor while Pepe Romero was the main guitarist. Denyce Graves was the mezzo-soprano and displayed stunning vocal abilities and prowess. The performances aimed at celebrating three main figures in classical music including Enrique Granados, Morton Gould, and Celedonio Romero.

To celebrate their late father Celedonio Romero, the quartet in association with the orchestra performed the Concierto de Malaga. During these performances, Pepe Romero stunned the crowd with his excellent guitar-playing skills. To celebrate the works of Enrique Granados, they performed tres danzas espanolas. The intermission of the concert involvedperformances to celebrate the works of Morton Gould. They performed Troubadour Music for four guitars by Gould.

One of the most amazing aspects of their performances was good stage presence. The conductor was very enthusiastic, and enjoyed every moment of the performances. On the other hand, the orchestra was stunning mainly during the performance of Tres danzas Espanolas by Granados. Among the performers, Denyce Graves’s performance was average.

She sang three out of the thirteen segments of El amor Brujo, which contains a vocal part that is supposed to be sung by a soprano vocalist. Her average performance could be attributed to the fact that the piece is usually performed without the segments which the quarter decided to include to improve performance.

Her poor performance was evident in other pieces such including song of a broken heart during which she had difficulty in maintain the correct pitch. Her voice sounded a little bit off pitch and her interpretation was hesitant in some pieces. In several instances, the orchestra drowned her voice and she could not be heard audibly mostly by people at the rear of the hall. Despite the inaudibility and poor pitch, she gave an excellent performance because the other members came to her aid whenever she missed a note.

However, there were challenges that lowered the quality of the performances. The orchestra’s performance was not up to par with the reputation of the Romero. In addition, Romero mastery of the guitar was not apparent in certain pieces because they mainly played songs that did not involve much use of the guitar.

At certain instances, the guitar was not audible because the orchestra volume was too loud. However, the performance of Celedonio’s pieces revealed their mastery of the guitar. The program included an intermission during which fans were treated to works of Morton Gould. The works of Gould performed at the concert were specially written for the Romeros in 1969 to commemorate Gould, a great musician and composer.

The return of the Romero concert at the Copley Symphony Hall in San Diego was a stunning performance that revealed the mastery of the Romeros quartet. The concert mainly included performances to celebrate the works of Enrique Granados, Morton Gould, and Celedonio Romero. Apart from a few hitch ups, the group lead guitarist, Pepe Romero displayed his excellent guitar-playing skills.

In addition, the mezzo-soprano was stunning except for some misgiving during some performances. The lighting of the stage was appropriate and their stage presence was commendable. The performances were a revelation that the legacy of Celedonio Romero, the founder of the group is still alive and influencing many people.