Esson’s works have managed to occupy adequate space in gallery exhibitions as both group and singular exhibitions for several years. According to recent analysis of her works, Esson’s ability to utilize a smooth transitional process in her art work has enabled her to remain relevant in the field for many years (Merran, 2005). Merran Esson has stood out in their own artificiality and form distinct from the rest of artistic ceramics.
The ceramic representations of Merran have occupied a large artistic space in the field. Compared to her contemporaries, Merran’s ceramic art has a sense of originality as evidenced by unique combination of form and style (Merran, 2005).
Her works have emerged to complement the Australian art in a variety of ways. In this paper, the discussion seeks to assess one of her exhibitions in terms of methods of processing used to complete her ceramic piece, finishing style (Bower, 2004).
Analysis
The artistic forms of the ceramic pots and inscriptions into the surface such as starfish, and eels attempt to evoke the sea-like world. This composition forms a surprising association of art and nature to arrive at an eloquent object free of excessive artifiality (Gordon, 2008). The analysis of her piece depicts a connection of objects together with the ability to reflect form through an inventive process.
The ceramics sit isolated from the rest showcasing serendipity and design. Although her works utilizes the historical artistic forms, she succeeded in conjoining traditional and modern ceramic art to design explicitly inorganic and natural (Jonathan, 2004).
Esson’s work emphasizes own artificiality, which promises familiar domestic style that demonstrates excellent effects. This piece of art embraces the natural symbolism of the pot and the immemorial association with ancient art (Bower, 2004).
The angular shape of the ceramic pot has been finished with form of colored form of inlays. The piece of art represents a distinct change in artistic direction, which embraces modernism as well as capturing traditional Australian art (Gordon, 2008).
This piece has been completed using texture that reflects a systematic form different from her previous art work. According to many scholars, Esson’s artistic ceramics have received an enormous acceptance due to its ability to depict unique finishing that captures reality and originality (Jonathan, 2004). In her work, Esson explores great imagery of the industrial form that reflects the Australia’s rural landscape.
This piece emphasizes the ubiquitous finishes that remain captivating before her audiences. Esson’s translation of ceramics to reflect the reality of the moment eventually casts a form that is potent in her ceramics (Jonathan, 2004).
The awkward junctions in the doubles hot for instance have been gazed to form an imitation of verdigris. The multiple bullet-like piercings allude or exhibit vandalized forms of isolated rural signs (Bower, 2004).
She has managed to create a unique balance between art and nature. The effects used in finishing the piece are a sure way to illustrate her exclusion from the traditional Sino-Japanese potter’s craft. The development of her piece of art creates a tender feeling that connects well with modern ideology and form. The curving has a sense of motion, which has gained much usage in most of her ceramic art works (Wilson-Brown, 1994).
The ability of Esson to emerge with simplicity of form succeeds to paint a grim picture of how nature and natural imagery can be embodied to form a succinct piece of art. Although one could possibly accuse Esson of embracing too much of natural form, clearly, her choice of selecting nature to cap her ceramic art remains uniquely positioned in the artistic scene.
Her ceramic processes have involved passage of earth through fire, which neutralizes the quality coldness that is inherent in most of ceramic arts.
Conclusion
Her organic structures have been viewed to grow extensively into industrial assemblages. Considerable evidence suggests that Esson’s enrichment has come from her natural images that neutralize the modern forms of most artists while incorporating a sense of modern art. However, her works have come under criticism of negating function to embrace form (Wilson-Brown, 1994).
Esson’s fascination with buckets is not about function as one could possibly view. She suggests that form overrides function, and this is the purpose of art.
The emphasis of landscape and green colored ceramic art works occupied a significant space in the solo exhibition at Mura Gallery in Sydney in 1999 entitled “Boundaries”. This exhibition saw an inception of her naturally oriented art ceramic buckets and pots (Wilson-Brown, 1994).
While her main form may retain a real functional modality, Esson’s art belong totally within the context of decorative artistic sculpture. She reflects strength, balance and support through her fine finishes, which are representative of style that is manifest of her traditional art.
She has utilized symbolic sculptural forms and specific glazes, structural patterns and textures that depict marine nature. Her work as evidenced by this ceramics forms a basis of interpretation of sense of place.
The thematic representations communicated by her artistic combinations of form, style, and function evoke a critical sense that lacks in most of artistic ceramics of her contemporaries (Wilson-Brown, 1994). Clearly, Esson emerges as a modern ceramist that fuses texture, form, style and function.
References
Bower, S., 2004. Australian Contemporary: A Survey of a Sense of Place, Art and Perception, 58.
Gordon, F., 2008. Containers of Ideas, Craft Arts International, 72, p. 29-34
Jonathan, H., 2004. A Snapshot of Visual art in Regional Australia. Craft Arts International, 61, p.68-74
Merran, E,. 2005. Hae-Sin Ro’s Ceramic Multiples. Ceramics: Art & Perception, 60, p. 16-18
Wilson-Brown, G., 1994. The assertive teacher, University of Virginia: Arena.
Edward Kennedy “Duke” Ellington is rightfully recognized as one of the most influential composers and musicians of the American culture as well as jazz music. His influence on both is immeasurable and duly credited with the impressive volume of awards he has received both during his life and posthumously, which include, among others, the highest civilian honors of the USA and France (Whitaker 269). All this should be considered keeping in mind that he was trotting a relatively untraveled path – establishing jazz music on a world scene. Looking at his life and career, which seems to be comprised entirely of achievements, one can easily call it an example of success. Duke himself, however, took a little less elevated approach.
During the celebration of his sixtieth birthday, he famously left behind the anthology of his music’s transcripts (Howland 331). Does that mean he has frowned upon acknowledgment of his work? I think not. He was always glad to see his work is appreciated. Was he an ethereal genius who cared little about if his contribution matters? Again, I think that would be unlikely. He was always there for his audience, and always enjoyed his work being praised. He just never stopped to marvel at it, choosing instead to move forward, relentlessly. Despite the popular concept of the genius brimming with ideas who just can’t control all the masterpieces pouring from him, Ellington was tirelessly working, ceaselessly, and productively. That, I think, what was a success to him – seeing that his work is appreciated and feeling he could go on with it.
Despite being credited as a groundbreaking jazz musician, Duke Ellington distanced himself from the term, characterizing his work as “American music” or “Negro Music”. According to Tucker, he did not appreciate the idea of categorizing at all and emphasized that music could only be good or bad (Tucker 456). He is famously credited as being “beyond category”, a definition introduced by Billy Strayhorn and used by Ellington since (Tucker 364). While not being bound by formal limitations is a trait often attributed to jazz music, this is a principle that can be seen throughout Duke’s life and career. He has often challenged the established traditions and stereotypes. As a result, he is credited, among other things, for turning the tides for jazz music almost entirely on his own.
It is a fact that before his emergence jazz was the music mostly played for black people while Ellington’s performances proved to be popular among the white population, which was almost unheard of at the time. How did he do that? It’s difficult to isolate a single cause, but I think this is at least in part due to his ignorance of the black music stereotypes. Instead of fighting them, he just banished them from his music, leaving the African-American values and experiences intact. A subtle approach that proved to be a success, preparing the minds of the public for acceptance of both artistic and cultural diversity. This “beyond category” approach to life, as well as his tremendous productivity, should serve the examples to anyone seeking for success.
Ellington has lived long enough to fully experience the appreciation of his work by both the public and the scholars. He was wildly successful and influential, with his influence stretching far beyond the realm of his preferred music genre (if there ever was such a thing). Besides the already mentioned multitude of awards, including, but not limited to, 12 Grammy awards, 9 works featured in the Grammy Hall of Fame and countless honors and inductions (“GRAMMY Hall Of Fame List”), he was a source of inspiration for a number of musicians, including Miles Davis, Dave Brubeck, Stevie Wonder, Ella Fitzgerald and Louis Armstrong (“Duke Ellington Biography par. 8”). The standards he introduced are now firmly embedded in the popular culture, acting as tropes in media. But perhaps his crowning achievement is his contribution to the change in social climate.
While not being a political activist and not taking an aggressive stand, he instead contributed to the struggle for racial equality by emphasizing African American experience and downplaying racial stereotypes (Cohen 291). This is not frequently listed among his achievements, probably because he never openly declared it as his goal. But his motivation can be seen in his famous statement “My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people” (“Duke Ellington Biography” par. 6). While more a political achievement, its artistic value cannot be underestimated, if we remember that jazz music was itself a victim of racial tension in the US at the time, and it was largely thanks to Ellington that it was introduced as a major part of the American culture instead of a niche product. His work on the music for Hollywood films, most notably, “Anatomy of a Murder”, can also be considered a contribution to this matter, being a rare case of African American music used as a soundtrack for a Hollywood film.
Ellington’s music is hard to characterize, as he was constantly experimenting with it. It never solidified into a recognizable pattern which could be defined, following his “beyond category” principle. Instead, improvisation was his staple mark. He was known for trying to combine the instruments in an unusual way. He also reached out for the musicians who used their instrument in the most unusual way to produce as unique a sound as possible. His orchestra was comprised almost entirely of such “individualists”, including James Miley, Ray Nance, Juan Tizol, Ben Webster and Johnny Hodges, among others. The most well-known example of this is the band’s characteristic plunger mute style of playing, known as “The Jungle Sound,” introduced to the band by the trumpeter Bubber Miley. The same could be said about his use of vocals as an instrument, most prominently featured in “Creole Love Call,” recorded in 1927 with Adelaïde Hall. Ellington also added elements of World music into his works, from more common African motives to oriental passages, to church music featured in his Sacred Concert series. All these can be described in one word – innovation. It is interesting to see how one man’s bold experimentation is almost entirely accepted nowadays as a part of the established standard.
The film “Love You Madly” is a collection of interviews and performances by Ellington and his band. Instead of presenting the complete concert footage, the film instead chooses to follow the narrative approach, listening to what Duke and his band members can say. Described by Duke himself as “the best film about Duke Ellington ever made” (Ellington 449), it offers the insight into the band’s impact on American culture and art.
Works Cited
Cohen, Harvey G. “The Marketing of Duke Ellington: Setting the Strategy for an African American Maestro.” The Journal of African American History 89.4 (2004): 291-315. Print.
Char Davies is among of unique artists who represent the virtual spaces in their works. Osmose by Davies is an effective example of the modern concept of hypermedia and representation of the unrealistic world based on the human’s breathing, feeling, and perceiving. The features of the modern media include interactivity, immersion, integration, hypermedia, and narrativity (Jordan & Packer, 2002). Osmose by Davies as the art installation reflects all the features of the modern media while combining the elements of the virtual environments with the persons’ perception and such physical processes as breathing and moving.
Immersion is a main quality of Osmose. This aspect is reflected in the author’s discussion of participants of the installation as immersants. It is possible to speak about the immersion in the virtual environment of Osmose because it is three-dimensional and “immersive” (Davies, 2002, p. 295). As a result, the installation becomes the “visually impressive simulation” that allows immersants to explore the unreal environments through the work of their consciousness and body movements (Grau, 2004, p. 193). Thus, immersion in Osmose leads to combining the real and unreal experiences.
Interactivity is realized in Osmose through the direct involvement of an immersant in the creation of his or her variant of the virtual reality. In spite of the fact that there is a limited amount of worlds viewed by an immersant, his or her experience in them depends on breathing and specific movements (Immersence, 2014). As a result, the observed environment can be viewed as interactive because an immersant can change it with its actions and even reactions.
Integration and hypermedia are also qualities of Osmose because Davies created the installation combining different media elements. Thus, not only the immersant receives the unique emotions and experience because of using the 3D-computer graphics. The audience who observes the immersant’s silhouette and movements, as well as the perceived virtual reality, ca also receive the particular experience (Immersence, 2014). The additional effect is created by the sound that makes the perception become fuller and more impressive.
As the result of using different visual and auditory effects, Davies also realizes the principle of narrativity in her work. The aesthetics of Osmose becomes complete and even influential because immersants and the audience receive an opportunity to observe the three-dimensional world that is full of sounds, in which it is possible to move and feel (Grau, 2004, p. 199). As a consequence, the whole space becomes multi-dimensional and rich of alternative realities that change according to the immersant’s visions (Grau, 2004, p. 199). In this case, the narrativity is caused by the hypermedia.
Osmose by Davies can be discussed as not only an art installation but also as a perfect example of the modern media that has all such qualities as interactivity, immersion, integration, hypermedia, and narrativity, and that connects the virtual and real environments while deepening the observers’ experiences. From this point, a person receives an opportunity to become the part of the installation because of the immersive character of the used media.
References
Davies, C. (2002). Changing space: Virtual reality as an arena of embodied being. In K. Jordan & R. Packer (Eds.), Multimedia: From Wagner to virtual reality (pp. 293-300). New York, NY: W. W. Norton & Company.
Grau, O. (2004). Virtual art – Digital! The natural interface. In O. Grau (Ed.), Virtual art: From illusion to immersion (pp. 192-211). New York, NY: The MIT Press.
Conducting is certainly the most challenging, musically all-encompassing, and intricate of the innumerable subjects that establish the playing field for musical performance. As the most important requirement, the conductor keeps the script in his or her thoughts during practices and shows, memorizing how every note and harmony were put together and scored by the transcript (Meier 309). A conductor has to demonstrate his or her temper and exhibit a wide-ranging variety of moods. The orchestra players will hold back if they do not see the conductor expressing his very soul through his body (Seaman 88).
The abilities that are mandatory in conducting at the top levels are anything but easy to attain—and many conductors fail to ever reach them at all. Indeed, what the audience often recognizes as the charm and the magnificence of the baton is the result of the conductor’s countless years of thorough training and constant effort, not counting natural talent, of course. Though necessary, talent alone is not sufficient to achieve success as a conductor—no matter how much talent a person has, it has to be cultivated, fostered, and polished (Schuller 6). Ultimately, an effective conductor must retain a complete assortment of different aptitudes and obtain a broad and profound understanding of the music that goes further than what is required of any other kind of performer; moreover, all of these qualities have to be embraced in a spirit of humility before the art of music that comprises a deep adoration for and solid pledge to ministering that art.
As seen in his performance, Kleiber is an exceptional conductor, even outstanding, and he can rightfully be called a sensation (Samuel van Swol). This high praise does not mean that he is a flawless conductor, but he has several amazing characteristics that make him a significant representative of the art of leisure and performance. His conducting skill and body language are not only amazingly easy to read but incredibly open and supple. From moment to moment, Kleiber puts his baton down, seeming as if he’s done conducting because he wants to enjoy listening to the orchestra playing. But instead, he gives his orchestra signs and instructions with his body language. His conducting represents a creativeness and lateral thinking to which the key is the diversity of his signals. His gesticulations are typically brief, vibrant, and well timed—not to mention to the fact that Kleiber almost never conducts using the same gestures from previous performances, as his performance is never prepared in advance. He is an improviser who has limitlessly different ways of signifying himself.
Kleiber is not only an exciting conductor, but he also embodies a show that is worth seeing. He is careful about what he decides to emphasize by his signs to the orchestra and the audience. Kleiber is effectively conveying his ideas to the ensemble as this conductor’s gestural “vocabulary” is beyond comprehension; he looks like a magician with magic wand in hand as he conducts the orchestra with excellent grip and with such a delight of musical creation, moving smoothly from moments of relaxation to fervent and nearly euphoric outbreaks, that the audience can only express approval in astonishment. The best part of his performance is the feeling of effortlessness and sureness in what he does.
It is hard to overemphasize the surprising change in the score that was completed by Kleiber. Undoubtedly, it is uncommon to listen to opera conducting of such aptitude and solicitude (Said 115). Considering the fact that being an average conductor is not easy and being a great conductor is nearly impossible, it’s worth mentioning that sometimes musicians don’t have respect for the conductors who just can’t keep up. The story goes that one day a leading tenor took the baton from a conductor who was falling behind and started to direct the orchestra himself. It is a well-known fact that members of professional orchestras regularly experience negative feelings towards conductors (Krause 34). But this was not the case for Kleiber. He became a respected conductor and proved his authority over many years; most importantly, he gained respect in a classy manner, unlike some of his pushy and arrogant colleagues.
In conclusion, the amount of work done by conductors is enormous, and conductors deserve audience respect and recognition as much as the orchestra members. In this performance, Kleiber’s vision is the perfect example of mastery in the field of conducting. His interpretation of Mozart shines with warmth and feeling, in contrast to the many more cut and dry conductors. In Kleiber’s hands, this piece is an undeniably uplifting and magnificent work of art as he brings the luxury of confidence and ease to the symphony. Kleiber was a conductor of diverse talents with a deep knowledge and understanding of his work, but his most important attributes were his profound love for and unswerving commitment to serving the art of music, both of which are evident during his moving performance.
Works Cited
Krause, Ken. Music Is a Difficult Instrument: That’s My Opinion. Chicago, IL: XLIBRIS, 2013. Print.
Meier, Gustav. The Score, the Orchestra, and the Conductor. Oxford: Oxford UP, 2009. Print.
Said, Edward W. Music at The Limits. New York: Columbia University Press, 2008. Print.
Samuel van Swol. “Carlos Kleiber Mozart Symphony No 36 Brahms Symphony No 2”. Online video clip. YouTube. YouTube, 2016. Web.
The following damages have been done to the work: the nose is completely smashed up, several slashes can be observed on the face and portions of the face as well as hair are missing, the left arm is broken and cut off from the bicep, the right arm hand (wrist and palm) is missing, toes are badly spoiled.
Iconography
The strong built and the beard of the statue seated on a throne help us to identify him as being someone very powerful.
Style
Roman.
Function of This Sculpture
The sculpture was created to depict its artistic style and the glorification it was supposed to have. Presently, the sculpture is displayed at Getty Villa.
Kouros Statue
The Subject
A male youth.
Material
Marble.
Approximate Size
6 feet.
Condition
In good condition.
Iconography
The strong built and the private parts help us identify the statue as being that of a well built male youth. The left leg is extended a little to the front and both the arms are clasped to the body. The fists are firmly closed with the thumbs positioning downwards. The statues were mainly used as grave markers.
Style
Archaic.
Function of This Sculpture
The sculpture was created to depict the actual human anatomical features such as the chest, legs, arms, etc. In addition to the Getty Villa, Kouros can be found at other places also.
Head of Emperor Augustus
The Subject
Emperor Augustus.
Material
Marble.
Approximate Size
6 feet.
Condition
In good condition.
Iconography
The grandeur in the face eyes and hairstyle and the fact that Emperor Augustus was never shown aging in the sculptures, makes us understand that the work is of someone who is idyllic and stylish. Even the hairstyle doesn’t change with time.
Style
Roman.
Function of This Sculpture
The sculpture was created to depict the political plans of Emperor Augustus. The main intention behind the work was to publicize the image of Emperor Augustus. The people were supposed to be reminded of the supremacy of Emperor Augustus. The sculpture is on display at Getty Villa, Malibu.
Victorious Youth
The Subject
An athlete of the Olympics.
Material
Bronze.
Approximate Size
59 5/8 X 27 9/16 X 11 in.
Condition
Apart from the legs, the features are intact but the grandeur of bronze is depleting.
Iconography
The statue denotes a victorious youth at the Olympics. The olive wreath denotes that he was a winner in the Olympics. Further, body language also denotes victory.
Style
Roman.
Function of This Sculpture
The work was created to commemorate the winning youth at the Olympics. After being preserved in the sea waters for centuries, the sculpture is now on display at Getty Villa, Malibu. It has been here since the year 1977.
Krangle, Jodi. A Muse’s Interview with Songwriter, Alan O’Day. The Muse’s Muse, n.d.
There is nothing like learning the facts about a certain work of art from the author, and the given source offers the pleasure in ample amount. In the interview, O’Day answers a number of questions concerning both his life and sources of inspiration; briefly mentioning Undercover Angel, the artist explains what stands behind the song.
O’Day, Alan. Alan O’Day. Utopia Artists, n.d.
As a rule, biographies are written log after the author’s death and by the least concerned people; thankfully, this is not the case with the source mentioned above. Written by Alan himself, the biography of the artist surely does not cover the entire life track, yet touches upon a number of peculiar aspects that would have definitely slipped the attention of a typical biography writer.
O’Day, Alan. Personal Thoughts & Pics. Alan O’Day, n.d.
Sharing his memories, ideas, and a couple of family pictures, the author allows the audience to see behind his stage image and understand the way he creates songs. Though leaving “Undercover Angel” out of the frame and focusing rather on the process of songs creation, “Personal Thoughts & Pics” makes it possible to peek into the world ay lives in and see what makes him create.
Seida, Linda. Alan O’Day. Biography. All Music, 2012.
A more detailed description of Day’s life, the biography written by Seida helps to take a more detailed look at the life of the artist and understand what events could have led him to writing “Undercover Angel” as well as dive deeper into the meaning the song is meant to convey. It is important that Seida, unlike the rest of the authors, focuses on such aspect as the relationships of O’Day and the recording company. Leaving the family and personal life issues aside, Seida offers what is really essential for evaluating O’Day’s work, i.e., the factual information.
Undercover Angel – Alan O’Day. Top One Hit Wonders, 2010.
The last, but definitely to the least, this short story is crucial to the given paper, because it sheds the light on the song itself. Unlike the rest of the sources, which describe mostly the author, leaving readers to guess what made him write the song and what its context is, the given source describes Undercover Angel in details, which helps to analyze the song.
“Guys and Dolls” is an American musical comedy, featuring music and lyrics by the composer and lyricist Frank Loesser and book by Jo Swerling and Abe Burrows. The book was heavily based on several short stories by Damon Runyon, who earned his renown for stories about colorful eccentrics, con men, gangsters and various denizens of the underworld Broadway, and these are exactly the kind of characters we can expect from “Guys and Dolls”..
Summary
The story is set in New York, at the beginning of the 20th Century, and centers on Sky Masterson, a high-rolling gambler, and his acquaintance Nathan Detroit, a fellow player, crap game organizer, and a bit of a con-man. They make a dubious bet that gets Sky to make Sarah, a New York missionary, to fall for him. Over the course of the musical, the characters fall in love or re-evaluate their relationships, lies are revealed, and characters make up for them, gambling that got people into trouble gets them out of trouble, and the story ends with two marriages.
Acting
While the story is definitely interesting, it is the characters and the dialogs that make the musical as successful and entertaining as it is. The performers did a great job of capturing the quirky and fast-talking spirit of the original Broadway production and the film, and the two main actors leave a very pleasant impression. It is easy to root for this production’s Sky and Nathan, even when they make mistakes, because, at heart, they are good people, and because they are so charismatic. Of note is the scene where Sky and Nathan make their bet. The “cider in my ear” scene was brilliantly presented, as was Nathan’s lead up into the wager. Sky radiates an aura of confidence and suaveness, while Nathan perfectly fits the image of an absent-minded, somewhat sleazy con artist. Due to how complex Nathan’s character was, I was very impressed with how well the actor portrayed him, particular in his scenes with his dissatisfied and hypochondriac fiancé, Adelaide. Their scenes were very believable, and the actors managed to make the resolution of their story pleasant and cathartic.
There also is genuine chemistry between Sky’s and Sarah’s actors, which makes watching them together on stage very entertaining. The actors masterfully recreate the mannerisms and defining features of characters from different walks of life and different social standings.
Technical Aspects
The technical aspects of the play – the set, costumes, lights, and sound – are adequate for the purpose, and do help to immerse the audience into the world of the musical. The set recreates the atmosphere of the 1950s Broadway, by filling it with recognizable scenery with skyscrapers, billboards, cafes. Several different themed location sets were made, from the sewers, to “Save-a-Soul Mission”, to a Broadway street with the “Hot Box” night club. They serve as a nice backdrop for the action. The stage lights are tailored to the scene, for example. imitating the neon lights that saturated the streets of the period, or the “hot” red light of the passionate Havana. The costumes do a good job at communicating the characters’ social standing in the New York underworld, whether the character is a suave neatly dressed hustler, or a missionary sergeant. The sound design is on the level, with the dialogs being clearly audible, and the music performed to a high standard.
Conclusion and Recommendations
I would definitely recommend this production to other students, if not for educational purposes, then at least for a good laugh and a charming story. I enjoyed it very much and couldn’t take my eyes off the characters and their misfortunes. It is easy to see why “Guys and Dolls” is popular with beginner actors – it has a witty script, relatable, easy to understand characters, catchy songs (“Luck be a Lady” and “Sit down, you’re rocking the boat” in particular) and a fun story.
Art is the conscious arrangement of items in order to influence and affect people. This is made possible by involving their emotions, intellect and senses. Art may range from the use of music, photography, paintings, films and sculptures. This paper will look at a sculpture as a work of art and assess the emotional effect it has and relate it to a piece of music. The sculpture, that is going to be studied through iconography, is a work by Donatello and is a sculpture of David. It is basically derived from the biblical context.
Description
The statute is a classical ideal created by Donatello is a structure made out of bronze. It is a one hundred and fifty eight centimeter tall statute and it portrays David nude, with a broad smile and holding Goliath’s sword. Below him, is Goliath’s head and it appears as if David is celebrating victory. The statute was created in the 1440s.
The work of art is a freestanding sculpture and was created during the Renaissance period and it describes the biblical text found in 1 Samuel 17. The story is about a battle between the Israelites and the Philistines and Goliath seems to be the most dangerous of them all due to his height and strength advantage. The Israelites soldiers are well trained but none of them is brave enough to approach the giant. It was then that the young boy, who had not reached the age required for one to become a soldier, stepped up and accepted the challenge.
The sculpture indicates a contrapposto when one looks at the positions of the legs and portrays elegance with the gothic sway. The structure is well created and is made as realistic as possible. The statute had found its place at the courtyard and has frequently been considered as a political monument although the actual significance of it in the courtyard has been of much debate among scholars.
How it affects me emotionally
The work of art by Donatello brings out a great story about David and Goliath. It is an inspiring piece of art since it shows the power and potential that is in the young and weak individuals. Those who are believed to be too weak to handle situations may be even more capable than those who are well trained for the particular task. The sculpture clearly shows a small, young boy holding the sword of the giant and stepping on his head after the victory. His courage is an inspiration and should be emulated.
David had been thought to be naïve and incapable of doing much. He was even too young to get into the army, so when the situation arose, he was the last person anyone could think would want to get involved. When the time came for the brave to step up and confront the most dangerous enemy soldier, those trained for the job coiled their tails and retreated. David, on the other hand, took a step forward and accepted the challenge. He was so untrained in the art of war that he did not see the need for weapons and armor. He bluntly refused.
He chose to use his slingshot, which he had been using for hunting and games around the village, to confront the fierce giant. One shot from his sling was enough to put the giant to its knees and finally to its death. David then took the giant’s sword and cut its head off. This is an act of bravery and is a demonstration of an acceptance of a challenge.
I am also challenged to take up challenges that appear greater than I do and I am persuaded that I do not need to be of age or well trained in it to accomplish it. Instead, I would use only what I have, just as David did and confront every giant that comes my way.
Relation to a piece of music
I can relate this piece of art to the piece of music that is found in the link, www.m.youtube.com/watch?desktop_uri=%2Fwatch%3Fv%3DWmeH332OZdaE&v=WmeH32OZdAE&gl=US. It is titled, David and Goliath, and is about everything that happened right before the great challenge that was Goliath to the victory celebrated by David after he killed Goliath.
The artist brings out the song in a form of a story and incorporates some comedy in it. I can relate the piece of music to the work of art since both are an inspiration. The piece of music is inspiring because it shows how insignificant David looked with his sling and stone and considering his age. The giant was certain of victory but to his surprise, he would have his head cut off by the under aged boy. Both the music and the work of art show bravery and appreciated the ability of the weak in the society.
Conclusion
The work of art by Donatello is a great work and is a sculpture of the biblical David. It shows his victory over the giant, Goliath, and this is portrayed as he holds Goliath’s sword and steps on his cut head. This sculpture displays the courage of a young boy who had been believed to be weak and unable. This shows that even the young and weak in the society are well able.
Performance Report: Chamber Music Event Featuring Joan La Barbara and Members of the SFS
On 11th March, the San Francisco Symphony with Joan La Barbara introduced a new music concert called American Mavericks. The program represented a chamber music event and included selections for Solo Piano by Henry Cowell, the songs by Terry Riley for String Quartet, selected works by Harry Partch, and the world’s known Jacob’s Room: Monodrama by Morton Subotnick. I have always been fond of the classical genre, but this particular performance surpassed my utmost expectations because it sophisticatedly blended classical textures with contemporary sounding. I should also mention a few words about the marvelous vocalist of the performance.
She is acknowledged as an outstanding composer and the master of the contemporary music genre. I should also give credit to the conduct of the performance – Jeffrey Milarsky – the leading conductor of contemporary music, as well as to marvelous piano solos performed by Jeremy Denk. Though no place for improvisation was left, the performers and vocalists still managed to surprise the audience and present those with unexpected rhythms and contrasting tempos.
The authors of the musical pieces belonged to the music period of the first half of the past century. This is of particular concern to Henry Cowell, who was the pioneer in experimenting with untraditional musical instruments for creating fascinating-sounding. Using other means of sounding than mere notes and chords was also discovered by this stunning composer. I was especially impressed with the technique that Jeremy Denk used while presenting Cowell musical pieces. Hence, pressing several buttons at a time, Denk managed to produce unusual and striking sounding, which I had never heard before and that was genius.
The play of contrast during the performance was shocking, especially when I heard the pieces made by a famous composer Harry Partch. Using the custom-made instruments, the SF Symphony skillfully rendered the spirit and the main idea of the musical pieces. I was mesmerized by Sextet from Castor and Pollux and Barstow. Unexpected rhythms and contrasting tones accompanied by the gorgeous voice of Joan La Barbara provided me with invaluable experiences and expanded my vision of music and its role in the lives of people. Tom Riley’s musical pieces were similar to Partch’s style in terms of a minimalistic approach to music, but with significant differences in sounding.
This contemporary composer has also introduced a fresh insight into sounding of the modern music. While listening to the G Song, I enjoyed the harmony of notes, as well as the great performance of the SF Symphony ensemble. The final accord of the concert was Subotnick’s masterpieces called Jacob’s Room. This is a brilliant ending of the musical event because the audience presented the concert with a storm of applause. The piece was accompanied by the marvelous signing of the vocalist and had a great impression on the listeners. Besides, the overall performance of Subotnick’s composition looked like a material representation of the song.
Regarding the list of composers whose music was performed, I should confess that this cohort of musicians reflected the period of minimalism and contemporary music in the second half of the past century. Therefore, music interested people of different age categories.
The music event took place at the Davies Symphony Hall, a spacious and gorgeous premise that could capture many viewers. It was remarkable to watch the performance from any point of the hall and, therefore, space was another feature complementing the event. Besides, the setting completely fits the overall spirit of the chamber music concert where space was fully used by the musicians to render the splendor and the overall idea of the contemporary style of classical music.
While watching the performance, I noticed the way the scene was used during the performance of Subotnick’s Jacob’s Room. The floating flat stage was balancing with people signing on it. I was mesmerized by the entire acting, as well as the rest of the audience in the hall. This was, probably, the most memorable moment of the whole concert. I was paid attention to the way the audience reacted to specific moments of Partch’s piece performance. There was total science so that it was possible to hear the drop of a pin. In contrast, the musicians behave in a completely different way, which makes the audience more attached to the action on the scene.
Unfortunately, I did not have an opportunity to talk to the performer after the event, but that was not necessary because I got the idea of the actions taking place on the scene. The music was so versatile that it was not important whether the sounding was contrasting or smooth. The only that mattered was the way the conductor, along with the other participants, rendered their spirit through tones and tempos.
Overall, I enjoyed the music even and I would gladly visit other chamber music performances to refresh my knowledge on chamber music. Besides, I am eager to attend other performances of the SF Symphony.
Distinctions between Jaleh Mansoor’s idea of ‘universalism’ and Clare Harris’ ‘transnationalism’
The transnational theory involves several nationalities reaching out to each other beyond national boundaries. Non-state organizations, for example, Non-Governmental Organizations and Transnational corporations are mobilized to provide direct linkages between trans-border relations across international boundaries. This theory tends to disqualify the traditional theory of sovereign states to be replaced by the exchange and sharing of cultural and political characteristics within nations. It seeks to have a global space where technology, social power, and information are exchanged.
The transnational corporations have grown into positions where they can oppose or play a part in the formation of state policies and affect the thinking of the society (Mansoor 52). Individuals play a major part in making and exchanging national and international ideas. The state is no longer the sole owner of the information and the human labor it owns. The latter is monitored by the external and internal factors of this movement. In addition to this, politics and power have also been affected. These new ideas do not take over entirely but ensure the transfer of the same through social movements and sub-national groups.
However, it is not correct to assume that these actors exercise dominance in these states because the state of a country still plays a central and significant role in managing and running their citizens. The transnational theory has been criticized on grounds that the exchange of information could be a bad influence on the state. Others could be terrorist groups or human rights organizations to undermine the state. The theory does not give a guideline on how to differentiate this from the productive good transnational exchange.
Transnational applies to various fields of society. In this context, we look at transnational in history arts according to Clare Harris. Clare Harris is a teacher in the School of Anthropology. In her article’ The Buddha goes global’, she states that cultures based on ethnicity and nationality will not be bounded in this transnational era with the mobility of artists around the globe. She studies a local Tibet artist, Gyonkar Gyatso, who on completing his studies in minority arts becomes fascinated by the unfamiliar territory he sees in the aerial view on a plane back home. Gyatso decides to focus on art, based on the different experiences he gets through traveling.
He faces a few hiccups where although he stays in the country for a while he is denied sponsorship in the United Kingdom-based on ethnicity. Ethnicity is a major issue among transnational. We see him maintain his ethnicity by keeping a ‘Tibet’ worded tattoo on his arm although he is an international artist who could very well fit into any country including, Berlin, New York, and London among others. Gyatso uses his paintings to highlight the various issues that face Tibetans when they leave home. For example, the box found in the refugees’ rooms expresses that the people should never leave home without scissors for entrepreneurial use. He relied on his tool kit to survive too.
Gyatso goes back home to Tibet after he receives his passport. He finds major changes in the city. The town had undergone a transition under the influence of artists who traveled abroad and learned new cultures during their visits to his gallery events. They would borrow building designs and business ideas in the United Kingdom and adopt them in their town, which undergoes a major transformation.
From the experiences of Gyatso a Tibet artist who grew and developed from a national artist into a global artist but never forgot his roots, Clare Harris states that art should be global to encourage inter-cultural exchange. In this transnational world, art historians no longer dwell on the past but diversify their experiences through traveling in the present.
On the other hand, Universalists assert that by having common features we are all humans who deserve to be treated with equal rights regardless of gender, race, sex, social class, sexuality. This is a demand universality asserts on the state, community, and the law. In the spirit of universality, all human beings should have access to civic duties, political change, or laws that govern the land. Society right now is more informed and free to exercise our universality, unlike our ancestors who were bound by nature, traditions, fate, and community laws.
Some of the critics of this theory question the decision to abandon one’s identity and individualistic or distinctiveness in the spirit of acquiring universally shared human traits. Others also look at it as the white community way of integrating their system into the black community in an attempt to adopt a universal race. Is it right to forego the identities of our society, strengths, and challenges in the process of adopting a universalistic embrace?
Jaleh Monsoor focuses her theories on complicated abstraction, totality, labor, and modernity as a category that is used to highlight universality. While analyzing Mona Hatoum’s work, she notes the use of abstract parallels and a grid to highlight universality in the service of imperialism and colonialism. She says that in a society the pleasure or displeasure of a certain job is based on the monetary value placed on it. Skilled or unskilled labor is based on the monetary value assigned to it.
Art is regarded as the continuous circulation of goods and services. She sees cultural production, which is affected by social and economic situations as a great limitation. She says that if work dissolves the boundaries of labor and leisure, rest, and work, then any action that comes into contact occupies the same fabric (Kim 10). Global movements come with production efficiency and not from its estrangement and scarcity.
Another problem is that of gender. The labor sector was faced with problems of male chauvinists harassing and taking advantage of the females. Many feminist artists in the 70s fought against gender discrimination in certain roles. Violence against women, rape, and prostitution was normal. The woman’s body was referred to as ‘bare life’. These political and social crises faced by the artists according to Jaleh Monsoor are what motivates their work.
They seek to find purification in their lives and turn away from past practices and be part of the globalized society. They display these features in an abstract form through poetry, weaving, and paintings. Although most Universalists tend to copy the western style, according to Jaleh they still use abstraction to describe their experiences in nature and life.
The major difference between Clare and Jaleh is that while the latter wished to dilate scholarship, Clare encouraged it. Mansoor believed that an artist should focus on using the themes of abstractness in their work, while Clare believed that artists needed to diversify into other territories and themes through scholarships, traveling, and borrowing ideas to make their art global and diversified.
Clare is full of praises for Gyatso for his determination to pursue art in the United Kingdom and eventually becomes a professional and goes back to his town to help continue with its transformation. Jaleh on the other hand criticizes Palermo’s take on sculpture and architecture and terms it as ‘idiosyncratic” she says his works appeared artificial, gigantic, and irregular. She appreciates the renewed potential in Palermo’s work on ‘zwirner and with’ saying that he appreciated the past, materialism, and abstraction.
The artists in Mansoor regarded their work as ‘a set pure singularity’, the transnational, on the other hand, believe in the art of functioning and not interpretation. According to them, the rules of their art changes during the gradual development of the same. Mansoor dismisses Palermo’s art as gigantic and irregular and refers to them as idiosyncratic. The transnationals on the contrary appreciated creativity, sculpture, and architecture.
The main point in Clare Harris’ paper on transnationals is to emphasize the enrichment of local art into a global piece by encompassing the various methods used by different communities. Gyatso highlights his art in a gallery that was full of British methods but at the same time maintaining his original art identity of Tibet. The Universalists disregarded any form of work that used lines and color and pictorial codes. They termed such pieces of work as modern.
The artists in Mansoor’s error did not embrace the changes that were taking place in global art. They were ignorant in learning the various systems of the transnational because their methods and art practices entailed brushes, paint, and easel. They were content with their old systems and ignored any new method that came along not even bothering to know the meaning and use of the various styles (Chang 10).
Consequently, these Universalist artists deny Schwitter a chance to participate in their exhibitions and general performances. On the contrary, when Gyatso’s compatriots visit his gallery shows in the United Kingdom, they appreciate the diversity of art and the culture of the state. This is evident when he goes back home and finds a new transforming town, full of borrowed ideas from other nations. The artists in Claire Harris’ transnationals are open to change while those in Jaleh Mansoor’s’ universalism are adamant to accept and borrow new ideas.
Clare’s transnational appreciates the efforts of the labor force (Harris 698). We see Gyatso’s art being appreciated since his gallery openings are well attended and eventually he obtains a British passport. In Mansoor’s articles, we experience the torturing and harassment of human labor especially the women. For instance, an older Chinese man who later pays for these services sexually violates a teenage girl.
The men are also mistreated when paid to form a line and have a tattoo drawn on their backs for the exhibition. The people brand the system suffering in universality. Transnationals on the other hand have their efforts appreciated as seen in the case of Gyatso and his fellow citizens. The fact that the town grows economically and socially translates to a concurrent growth in the people (Lionnet and Shumei 15).
Gyatso’s architectural work on the ‘Buddha’ is highly recognized and appreciated in his local country. The piece is showcased in major galleries. The Mansoor’s artists however shunned any form of sculptural works. These pieces were regarded as irregular, ugly, and gigantic. For example, Schwartz’s piece is a major piece of art, which is a combination of sculpture, collage, and any modern poetry of similar preference to western art.
This was looked at as betrayal in an attempt to replace the local art with western ways. The modernization wave, which was washing the entire local art replacing them with the new contemporary ways, was a major threat to these Universalists. The transnationals on the contrary were eagerly embracing the modernity wave and only managing to hold on to the little reminders of their ethnicity like the tattoo Gyatso had.
In Clare’s transnational, the artists are a group of young artists fresh from college. Gyatso is fresh from college when he decides to land in the United Kingdom. The artists who come to view his artworks in gallery events are young Tibetans. On the contrary, the artists in Mansoor’s theory of universality are men of the age. This could probably explain their conservatism nature in embracing the new ideas in art. The difference in age of the artists in this school of thought explains their difference in ideology, styles, and methods of art. The younger more vibrant generation is eager to learn and understand new ideas while the older generation insists on upholding the old ways and is scared of exploring new ideas and getting out of their comfort zone (Lynch 175).
Both Mansoor and Clare exploit the ideas of identity and authenticity. Their artists maintain their original images and are not so fast to abandon their identity to adopt the western image. Gyatso for instance achieves his success and goes back home to his roots. The artists in Mansoor are conservatives who are scared of losing their identity at some point bordering ignorance on their part. This is an important factor given the effects of globalization, in which countries are losing talents due to brain drain. Similarly, some cultures stand vulnerable to be lost in the effect of abandoning Universalism’s singularity nature and adopting the modernity propagated by transnationals.
Gyatso still presents pieces of arts-based on his hometown of course in comparison with the British ways. The Universalists work hard to maintain their values and old ideas even in the way they present their arts. In this way, the community is assured that their ethnicity, identity, and uniqueness are maintained. Clare describes Tibetan art as a product for the global market, which is produced via the local ideologies by the young Tibetans.
In conclusion, both professors clearly outline their themes hence it is hard to prefer one school of thought. The transnationals who dwell on the exchange of artistic ideas across boundaries to breed a rich blend of artistic works are highly preferred in contemporary society. This is with a little hint of the universalism school of thought where an artist employs the Universalists styles of art in an attempt to maintain the identity of the artist and not lose it completely. The Universalist aspect of abstract and totality can still be applied in modern art accompanied by poems, which explain the art.
Works Cited
Chang, Michael. Racial Politics in an Era of Transnational Citizenship: The 1996 “asian Donorgate” Controversy in Perspective. Lanham: Lexington Books, 2004. Print.
Harris, Clare. “The Buddha Goes Global: Some Thoughts Towards a Transnational Art History,” Art History 29.4 (2006): 698-720. Print.
Kim, Samuel. East Asia and Globalization. Lanham: Rowman and Littlefield, 2000. Print.
Lionnet, Françoise, and Shumei Shi. Minor Transnationalism. Durham: Duke University Press, 2005. Print.
Lynch, Katherine. The Forces of Economic Globalization: Challenges to the Regime of International Commercial Arbitration. The Hague: Kluwer Law Internet, 2003. Print.
Mansoor, Jaleh. “A Spectral Universality: Mona Hatoum’s Biopolitics of Abstraction,” MIT Press Journals, 12.1 (2010): 49–74. Print.