Category: Artists

Introduction

Intercultural dialogue is a recurring concern in the present social and philosophical debate on multiculturalism. The question arises as to whether and to what extent music could serve as a link and create interdependence between cultures in the environment of friendliness, care, and compassion. The history of music culture transference across and beyond the Asian continent counts more than one thousand years. However, the exchange has not been inherently positive: as noted by Appadurai, as a result of changing relationships between countries, kingdoms, and empires, trends and changes in music culture often reflected imbalances of power (193). From this perspective, interculturalism in music may be considered an act of resistance to a single culture’s hegemony. This paper discusses the role and the place of the Chinese musical band Dawanggang in the world that is still defined by the tension between the Occident and Orient.

Music as a Vehicle of Cultural Dialogue

Music has long been highly esteemed by philosophers as a phenomenon that not only helps with self-cultivation but also promotes mutual understanding between different groups of people through a shared experience of musicing together. McKimm-Vorderwinkel argues that music can be understood through the lens of the philosophical concept of hermeneutics (3). In its earliest Greek meaning, hermeneutics denoted an act of translation of something that is humanly unintelligible into the “language that everyone speaks and understands (McKimm-Vorderwinkler 5).” Ancient Greeks added a spiritual dimension to the human experience of creating and enjoying music. To them, music was a vehicle for bringing something out of the realm of gods into the world of humans. Hans-Georg Gadamer, one of the most prominent advocates for the hermeneutical dialogue, opined that the hermeneutical perspective was universal; it was able to expose human relatedness despite social, cultural, and language barriers. In other words, it is the language of art that was carrying the meaning that could be understood by anyone, which made it capable of uniting people.

However, since this paper focuses on the Asian music culture, it would be incomplete to approach the subject matter only from the perspective of Western philosophy and art history. Scruton explains that music was at the very core of Confucian aesthetics (135). Philosophers of early China referred to music as a means for the harmonization of virtues and a device for self-development and self-expression. For example, an excerpt from Lunyu, commonly translated as Confucian Analects, states that “personal cultivation begins with poetry, is made firm by rules of ceremonials, and is perfected by music.” However, music holds value beyond individual improvement: in the Confucian philosophy, it is also a force of social stability and a political tool (Scruton 140). Like Western philosophers, Chinese thinkers elevated the role of music because they believed in its supernatural origins. An act of creating or listening to music signified a communion between humankind and supernatural powers. Because music was empowered by the divine, it could bring society and the universe into harmony, which is its fundamental purpose in the context of Confucianism.

The Occident and the Orient in the Modern Music Culture

Philosophy highlights the potential of music for bringing people together through shared hermeneutical experiences, but it is an idealized view that is not always compatible with the reality of the modern world. Understanding the Asian music culture as it is today is challenging without examining the relationship between the East and West. Said, a literary scholar and one of the pioneers of post-colonial studies, coined the term “orientalism” to refer to the Western global perspective. The term derives from the divide between the Occident and the Orient that was used by Europeans during the colonialism era. According to Said, “orientalism” emphasized the distinction between “us (Europeans)” and “them (Asians),” typically “towards not especially admirable ends (53).” In this dichotomy, Western culture is modern and superior while Eastern culture is ascribed unflattering characteristics such as “ primitive, savage, backward, dormant, and child-like (Appadurai 194).” It is easy to see how during the European colonialism era, elements of Oriental culture, including music, could be seen as unworthy of detailed examination and understanding.

A lot has changed since the fall of the British Empire, and many Eastern countries have claimed their spot in the international arena. After decades of unprecedented economic growth, China is on its way to becoming a global leader. Yet, its rise to prominence did not translate into the dominance of its music culture in the global context. If anything, globalization did not give each culture an equal chance at shaping the popular music of today but strengthened the centuries-old dynamics. Appadurai makes the following comment on the nature of globalization: “The central problem of today’s global interactions is the tension between cultural homogenization and cultural heterogenization.” On the one hand, cultures seek to preserve their uniqueness. However, on the other hand, they cannot resist broader trends and tendencies facilitated by increasing global mobility and interconnectedness.

Today, Chinese music is reflective of the said cultural tension. Some musical artists are concerned with the revival of authentic Chinese music traditions, while others incorporate foreign music culture elements: Western scales, rhythms, melodies, and harmonies unique to Western music culture. The latter is exemplified by Chinese pop, also referred to as C-Pop. The origins of Chinese popular music date back to the 1920s when Shanghai music artists experimented with fusing Chinese folk music (traditional pentatonic folk melodies) with instrumentation similar to that of an American jazz orchestra (Hu and Yang 1900). Admittedly, from the very beginning, Chinese pop music was influenced by Western music culture.

Its impact ceased to be after Mao’s Cultural Revolution when the music turned into a political tool that was advancing the interests of the communist party. However, when China opened for the rest of the world again, the music immediately adopted outside trends. Hu and Yang list American pop, rock, African American rebellious hip hop, and rap music as primary sources of inspiration for popular Chinese music today (1902). These facts are evidence of global cultural homogeneity that may be breaking cultural boundaries but, at the same time, strengthening the superior position of the West as a musical trendsetter.

Dawanggang’s Role in Breaking Musical and Cultural Boundaries

Given the existing hegemony of the West, it is even more compelling to study musical bands that traverse cultures without putting East Asia into an inferior position. One such example is the Chinese musician band Dawanggang that was founded by the vocalist and multiinstrumentalist Song Yuzhe in 2009. Yuzhe is also associated with Chinese musical acts such as The大忘杠 宋雨喆, the 木推瓜, and the Chinese Rock band 翻页. The band’s name Dawanggang (Chinese 大忘杠,) originates from Yuzhe’s grandfather’s catchphrase but bears no real meaning. What is notable about the band is that it was created with the purpose of creating a new musical perspective. Dawanggang unites musicians from different cultures and ethnicities to create and enjoy music together. Safe for Yuzhe and a few other core members, musicians have been changing throughout the years. As a result, the band’s sound has been evolving and incorporating different instruments originating from cultures all over the world.

One of Dangwanggang’s most remarkable works is a record under the title 荒腔走板, which can be loosely translated to “wild tune stray rhythm.” It is a term used in Chinese opera that refers to music that is out of tune or has a slightly broken rhythm. Though originally meant as a negative characteristic, “wild tune stray rhythm” is turned into a compliment by Song Yuzhe. For him, this imperfection symbolizes the strange power of Hu Le as well as the modulation, variation, noise, and dissonance of modern music. The record is a mix of Chinese folk music, Chinese opera, rock, experimental music, sound art, and world music in a musical form that is difficult to define and very diverse. As noted by Yuzhe himself, the ideas that are central to 荒腔走板 are the coexistence of different musical genres and the free exchange between musicians from different musical backgrounds within a predefined theme. The lyricism is as creative as the sound as it comprises allusions, poems, and stories.

It is easy to notice that Dangwanggang combines cultural homogeneity and heterogeneity in a peaceful way, without letting one cultural influence dominate all others. The band breathes a new life into the ancient tradition of Chinese opera, which promotes the uniqueness of Chinese music culture. The origins of Chinese opera date back to early China; the genre had reached its maturity by the 13th century and continued its development throughout the latter part of the Qing dynasty (1644–1911) (Haili 87). However, the popularity of traditional Chinese opera plummeted after the 1950s, which can be ascribed to both political and market factors (Haili 120). After the Cultural Revolution, China was increasingly hostile to rural religious festivals and traditional culture on the whole. As a result, the new generation grew up with far lesser exposure to Chinese opera and are not as interested in its legacy. Therefore, by incorporating Chinese opera elements in its music, Dangwanggang preserves the genre and popularize it for broader audiences.

Even though the band is based in China, it amplifies the voice of other cultures. One of the core members of the band is Hugejiletu, who is from Mongolia. His main instrument is the horse-headed fiddle in the band, the most important traditional instrument of the Mongolian people. It is perfect for representing the Mongolian music culture and lifestyle. The horse-headed fiddle creates a soundscape that is reminiscent of the vast grasslands and the sound of rushing horses’ hooves. The instrument is two-stringed; it has a trapezoidal body and a horse-head-shaped handle. With similar Western instruments, the bow stays outside the strings that are pressed from the front. The horse-headed fiddle is unique: its strings are pressed from left to right. The instrument finds its place in the band’s music and is harmoniously interwoven with other elements. By marrying the two musical traditions, Danggawang unites two cultures, which is important because China and Mongolia have a complicated history throughout centuries.

Dangwanggang’s “Talking about Birds” is a good example of an eclectic song that interweaves and traverses genres. The music analysis diagram for this song may look as follows:

• 0 – 1:45. The song opens with a string instrument; the sound is reminiscent of Chinese traditional folk music. It sets a mysterious, somber tone for the entire piece.
• 1:45 – 2:47. Elements of traditional Chinese opera appear: the female vocalist with a piercing voice is hitting high notes that accompany the sound of the string instrument;
• 2:47 – 6:00. Song Yuzhe starts his part with spoken word poetry with a slow cadence. The lyrics also hint at traditional Chinese poetry rich in metaphors for nature and existential problems.
• 6:00 – 10:00. The song now incorporates rock elements, which is especially noticeable in percussion and guitar patterns. The horse-headed fiddle is heard throughout the piece adding a unique flavor to the sound.

Conclusion

Given the competitiveness and sometimes hostility that exists and even increases between cultures today, the need for an intercultural dialogue seems ever more pressing. Music has long been since as a tool for cultivating humanity and human relatedness, despite language, social, and cultural barriers. However, in today’s world, music culture is often reflective of political dynamics with a persistent division between the West and the East. Chinese popular music has long been influenced by the West, and especially the USA, while traditional forms have been erased and forgotten. Danggawang is a band that offers a solution to the tension between cultural heterogeneity and homogeneity. While it promotes authentic Chinese music genres, it also gives voice to other cultures such as Mongolian, which is especially important in light of oftentimes difficult relations between China and Mongolia. In this sense, Danggawang’s artistry is intercultural in a friendly, peaceful manner where every musician has a chance at expressing their unique identity.

Works Cited

Appadurai, Arjun. “Global ethnoscapes.” Recapturing Anthropology, 1991, pp. 191-210.

Haili, Ma. Urban Politics and Cultural Capital: The Case of Chinese Opera. Routledge, 2016.

Hu, Xiao, and Yi‐Hsuan Yang. “The Mood of Chinese Pop Music: Representation and Recognition.” Journal of the Association for Information Science and Technology, vol. 68, no. 8, 2017, pp. 1899-1910.

McKimm-Vorderwinkler, Judith. “Can Music Play a Role in Intercultural Dialogue?” Essay for Philosophical Issues in Intercultural Studie, 2010, pp. 1-19.

Said, Edward. Orientalism. Knopf Doubleday Publishing Group, 2014.

Scruton, Roger. Understanding Music: Philosophy and Interpretation. Bloomsbury Publishing, 2016.

Drawing up a business model related to the creation and sale of art objects is a somewhat risky and challenging undertaking. Unlike the release of any general consumer goods, painting is not a constant, continuous process. This type of activity does not produce basic necessities, which means that demand is not guaranteed. Therefore, in the case of Sikander, the first key factor in ensuring the success of her project’s business model is having a stable customer base. This element is vital as it is the basis of the first stage of the business project. To move forward, gain an audience and notoriety, Sikander needs to sell enough work through the University and her website. Subscribers can also be considered as an alternative to having direct buyers. To reach her audience, Sikander must either develop a campaign to attract attention to her work or gain support for them. These factors are the main ones since the further development of the entire project depends on them. In part, these problems are solved because the artist has already earned a name for herself by participating in various kinds of exhibitions and teaching.

The Lean Startup is the ideal model for approaching an artist’s business on multiple factors. This concept is characterized by a scientific approach to management, which allows you to engage in project work. This approach is combined with a different kind of experiment, iterative release of goods, and customer feedback. All the qualities described are suitable for the artistic direction chosen by Sikander due to its specificity. Firstly, drawing is always a kind of experiment, and in most cases, the final result is not fully known. Secondly, the paintings are released with a rather long interval between them, in cases of traditional art. Finally, feedback from clients, and in this case, viewers, is an integral part of an artist’s life. If the creator does not have an audience, they cannot fully develop and move on. Therefore, using this approach, Sikander will be able to design their drawings to suit the largest possible audience, thereby getting the most out of their business project.

Michelangelo, Leonardo da Vinci, Salvador Dali, Pablo Picasso, and Henri Matisse – this list of world-known artists who astonish with their unique approaches to art is far from being full. Sometimes, it is not easy or even impossible to understand the message of these people. However, with the help of Francis Bacon’s explanation that “the job of the artist is to always deepen the mystery,” the interpretation of artworks can be facilitated. Instead of believing that artists must educate or explain something, one should consider mystery as the key element of art, as well as human life, and the mission of artists is to keep a balance between what is revealed and what should be concealed.

Today, it turns out to be fashionable and even honorable to visit museums and exhibitions where the works of local artists and those from different parts of the world are introduced. People believe that they improve their understanding of the world, learn something important, and find new interpretations of old things. Among a variety of definitions of art, it is possible to say that it is one of the forms of education, and artists become the best educators who use their skills and experience. Still, the worth of life is not necessarily to know everything but to be able to enjoy what is given, leaving space for some mystery.

Unawareness should not be considered as a shortage or an obstacle that has to be overcome. The mystery is a crucial part of life that makes it more interesting and challenging (from a positive point of view). When people face something mysterious, they try to take multiple steps and use their best qualities to find out an answer. In other words, the mystery is the best motivator that promotes self-development, realization, and self-improvement. Therefore, it is expected that someone to create or, at least, deepen the mystery in order to provide a person with a sense of living and a goal to be achieved.

Artists have a perfect chance to use their imagination and observations to create what is actually needed for society. For example, in the book and the movie The Da Vinci Code, the events begin with his Mona Lisa painting and end with an impressive secrete of the Last Supper.

This story shows that people are in need of mystery even if they cannot realize it. When artists stop deepen the mystery in their works from a professional point of view, people start using their subjective opinions and evaluations to complicate and spoil their lives. Therefore, a true mission of an artist is not only to introduce a unique vision but to identify the edge of the mystery and reveal its piece to people, provoking new actions, decisions, and thinking.

In general, the idea of Bacon about the factual role of artists and their relation to the mystery in the world helps to establish correct attitudes towards art. In their intentions to find out the truth and reveal each unknown piece of the universe, people forget one fact – as soon as they reach the goal, they can lose the sense of being. Therefore, the task of artists is not only to present interesting projects that impress people but make sure they deepen the mystery that can stimulate an ordinary person to discover something bigger with time.

Like any other worker, artists require the support from communities as well as organizations that will give them some advice or even help financially. For this assignment, it was chosen to discuss Artists’ Legal Advice Services (ALAS), which is operated and managed by a team of volunteer law students and professional lawyers. The team members dedicate their time to offer advice to artists unable to pay for expensive consultations. The organization’s headquarters is located on 56 Wellesley Street West, Toronto, Ontario. ALAS has an official website that artists are encouraged to visit when seeking relevant information about the organization.

The help of ALAS is imperative to creative individuals because it provides advice from experienced individuals in the fields of arts and entertainment. Fostering the environment of support and collaboration is the main goal of the organization, especially given the complex social climate, challenged by such issues as the rights of minorities, the pay gap, racial discrimination, and so on. Since artists tend to reflect the social climate in their works, supporting them from the legal standpoint is important not only to prevent the mistreatment on the part of businesses or communities but also to ensure that negative situations do not occur in the future.

According to ALAS’ website, artists can schedule appointments with the legal team. They usually take around thirty minutes, during which a lawyer will listen to the concerns of the client and provide summary advice or overall guidance targeted at solving any legal problems. It is imperative to mention that all consultations are free and artists are not forced to pay anything. However, there is a recommended donation of $20, which ALAS clients can make either in person or via PayPal. Through the use of the organization’s website, artists can fill in the form to schedule an appointment with a lawyer.

The contribution of ALAS should not be overlooked because artists’ unions are imperative for strengthening the side of labor and culturally empowering workers to enhance their work (D’Arcy, 1994). As mentioned in the article “When artists meet unions,” there is a need for collaborative effort between artists and unions: “artists must depict union life with respect and accuracy, and unionists need to learn to listen to artists and to negotiate clearly the terms of alliance” (D’Arcy, 1994, p. 21). ALAS has shown to foster collaboration with artists through holding events during which artists share their experiences and ask for the advice of the organization’s team. For instance, on January 30, 2018, ALAS held a “Music roundtable” that discussed the issues emerging performing artists when trying to engage in professional business (ALAS, 2018). Law advice was provided by Paul Sanderson from Sanderson Law, information on publishing and booking was offered by Adrian Battiston and Stefanie Purificati, while label advice was given by Laura Cappe from Royal Mountain Records.

To conclude, ALAS is an organization that provides legal support to creative individuals and offers artists an opportunity to resolve their problems. The fact that it works on a charitable basis is important to note because too many artists live on the poverty line, struggling to sustain their living. Being well-informed regarding issues of law is a weapon that any artist can use to his or her advantage, especially when it comes to avoiding challenging issues such as copyrights and intellectual property.

References

ALAS. (2018). Upcoming events. Web.

D’Arcy, M. (1994). When artists meet unions. Our Times, 1994, 19-22.

First, it is necessary to mention, that pop art is a wide stream of contemporary art. There is no place for the masterpieces, as the tendency for simplification can not be regarded as geniality, but, as it is well known, any rule has its exception. David Hockney has always rejected being a Pop artist but finally, he had to defeat, as the public recognized him as a pop artist. Hockney tried himself at abstraction but found it too unproductive. This statement was made during the period of rapid self-discovery and the creation of a new style. Hockney has been always interested in a wide range of art, not only painting, and consequently, it affected his painting techniques. The fact, that he was drawn into the sphere of designing theater sets impacted the way of composing the images, as he became free in locating the objects on the canvass.

The creation, which impresses most is “Day Pool with 3 Blues”. This image is laconic both in composition and in color transfer. There is no complex shadow-and-light play, there is no sophisticated color transfer… Hockney needed just three semi colors to paint the pool water, and give to realize, that it was the daytime.

It is necessary to mention, that the concept of color transfer simplicity is attributed to any image by David Hockney, and the very fact of creating the new style gives him the right not to be called a pop artist. It was the junction of pop art, impressionism, something from cubism and the distinct features, like the original image composition create the very notion of Hockney’s personal style

David Hockney, as an artist has the following advantages: he is clearly understood, and his images are simple to remember. The “Day Pool with 3 Blues” is a picture of extreme simplicity, and it is necessary to mention, that the advantage of this particular canvass is the feelings, that arise when the picture is viewed. Someone may recall a hot summer day and the refreshing water of a pool. Someone may recall tragic events looking at this canvass.

The discussions of this canvass took diverse ways, but the defining point was missed. Actually, the pool is the central image, but few critics mention the live fence. It is pictured with two colors, while artists use either single color for the green leaves or the spectrum of green colors tones and semi colors.

At first sight, the transition of colors and the arrangement of dabs is absolutely chaotic. But the thorough study of the picture reveals the genius of David Hockney, as he aimed to overcome the techniques of Van Gogh.

“Day Pool with 3 Blues” appears to be rather boring for long study, as it is too simple for a thorough examination. The only fact, that is necessary to mention is that it lacks dynamics. It is static and quickly casts boredom.

In spite of the fact, that Hockney refused to recognize himself as a pop artist, his paintings had the features of pop art, but there were also interconnections with other styles. The “Day Pool with 3 Blues” is featured by simplicity, but it is more than simple. It is absolutely still.

Reference

Web.

‘Frida’ is the biography of the legendary Mexican artist Frida Kahlo. Director Julie Taymor does well to portray Frida as a brilliant woman who lived her life more enthusiastically and tolerated more hardship and pain than should have been humanly possible. Frida Kahlo (Salma Hayek) proves that creativity is not a matter of luck but due to hard work and endurance.

The film’s theme is well supported by its plot, cinematography, characters and costumes.

The plot revolves around two prominent events in Frida’s life – the trolley car accident in 1929 (when she is 18) that breaks her back and dooms her to a life of excruciating pain, and her marriage (when she is 22) to Diego Rivera (Alfred Molina), a brilliant muralist but a notorious adulterer whose numerous extramarital affairs makes Frida’s life miserable. Frida keeps herself busy while trying to transfer her internal emotions and pain into her drawings and paintings. Her ongoing physical pain is exacerbated when she undergoes amputation of her right leg in 1953. She continues to fight against pain, telling the doctors to “just patch me up, so I can paint.” She keeps on painting right up to her death a year later.

Frida’s accident is shown as a slow motion sequence of a bluebird flying away and gold dust settling on her maimed body. In another scene, she has macabre hallucinations of ominous dance-of-death skeletons that magically change into her surgeons. The entire film has a dazzling visual style, literally throbbing with color: orange, green, blue, and yellow, that highlights the vigorous-intensity of her short, tumultuous life.

Salma Hayek is well supported by other characters such as teenage years’ boyfriend Alejandro ‘Alex’ (Diego Luna), her doting father Guillermo Kahlo (Roger Rees) and mother Patricia Reyes Spindola (Matilda Kahlo), Diego’s ex-wife Lupe Marin (Valeria Golino), muralist David Alfaro Siqueiros (Antonio Banderas) and photographer Tina Modotti (Ashley Judd). Alfred Molina is impressive as her philandering husband who even stoops to having sex with Frida’s sister Christina (Mia Maestra). Frida responds to his extramarital affairs by engaging in affairs – both heterosexual and lesbian – of her own, notably with Leon Trotsky (Geoffrey Rush) and Gracie (Saffron Burrows).

Costume designer Julie Weiss’ choices of bright fuchsia, dark red, and lime green colors make Frida’s paintings come to life where the film actors appear like models in her original paintings. Young Salma Hayek looks lovely and seductive in a schoolgirl’s uniform, and in the tango scene with Ashley Judd wears a dark red dress cut above and below to accentuate her sensuality. Alfred Molina’s costumes do well to portray him as a pompous, cigar-smoking revolutionary.

In conclusion, ‘Frida,’ correctly lauded as one of the most outstanding films of 2002, is a fantastic biographic portrayal of a brilliant artist who fights against great odds to achieve fame and adulation. By doing this, she proves, in her own words in the film, “At the end of the day, we can endure much more than we think we can.”

Reference

Taymor, Julie. “Frida”. IMDB Movies. 2002.

Attractions to Paul Benney’s Work

• I was drawn to this artist because of his achievements as a portrait artist.
• He has received the BD Portrait awards in 1995,1996,2000 and 2008. He was also selected in 1997 and 1999.
• His work is also in the art collections of Metropolitan Museum in New York, the National Gallery in Canberra and the National Portrait Gallery in London.

The achievements of Paul Benney attracted me to his works. He designs and paints them with utmost prowess and professionalism indicating the aspects of talent and artistic creativity. He is a well known international portrait artist, a profile he has established and nurtured over years. Some of his works were in the BP Portrait Awards Exhibition in the years 1995, 1996, 2000 and 2008. His work were also selected for exhibition in the years 1997 and 1999. The metropolitan museum, the national gallery, and the national portrait museum in New York, Canberra, and London respectively are some of the museums holding some of his collections. The quality of his work too is high and appeal to the eye. This is a critical consideration when selecting Paul Benny as the preferred artist in this context.

Paul Benney’s Biographical Information

• He was born in London (1947) where he lives today.
• He has worked in New York and Massachusetts too.
• His father and grand father had a massive influence in life as an artist. Both were artists.
• He has participated in various events such as the National Portrait Gallery.

Paul Benney was born in London to Gerald Benney, and has lived both in the United States and Britain. Currently, the artist lives in Somerset House, London. Benney’s prowess in transformation of object to beauty can be traced to his father who was a goldsmith and his grandfather who was an impressionist. Upon completion of his education, his greatest break through as an artist came in 1986 when the Metropolitan Museum of art bought two of his paintings namely the Heretic Healers and Depth Charges. He has grown credibly in the success ladder with his art works embraced globally.

He has participated in various solo and group exhibitions such as the National Portrait Gallery. His paintings usually trigger emotions and may have spiritual influence on the viewers. Up to date, he enjoys a massive biographical profile based on his artistic values.

Themes and Media

• Themes:
  • He deals with painting of people’s portraits.
  • His work touches on issues that these people indulge in.
  • Such issues include technology, urbanization, and pollution among others.
• Media:
  • Paul Benney mainly uses oil paints and canvas.
  • He usually uses pencil to make the initial draft after which he starts painting.

Paul Benney’s art work mainly deals with painting of people’s portraits. The themes of his work touch on issues embraced daily. He captures values, characters, and societal exhibitions using well designed and structured paintings with respect to portraits. Such issues incorporate technology, urbanization, pollution and so on. These are issues usually making his artworks appealing to many people globally. The media that Paul Benney mainly use are oil paints and canvas. These are critical materials helpful in this context. He usually uses pencil to make the initial draft after which he starts painting. These gives his art work a modern look and thus appealing as they combine well with the theme of his artwork.

Technique and Concepts

• Technique: He uses oil paint and canvas to make the portrait.
• Concepts: Paul Benney continually use realistic and naturalistic concepts regularly. The image is more important and has to appear natural.

The technique that Paul Benney uses is mainly oil paints to make his art. This is incorporated by tactical prowess, thematic imaginations, and massive talents with respect to portrait painting. It is critical to understand these provisions in order to establish his techniques and concepts in the context of artwork. Basically, technique in artwork refers to the methods used to achieve the ultimate artwork, which is appealing to all. The concepts that Paul Benney continually visit are realistic and naturalistic. This is because he draws portraits, which have to appear as real and natural as possible. His art does not involve concepts such as representational since he deals with portraits.

Examples of Art Work

Paul Benney’s works shown above are paintings that appear very real. He actually painted some of these while looking at them. They are paintings made on canvas and he used oil paints to make them. They have received international recognition as they are of high quality, appear real and appealing to the eyes. The paintings also pass message to the audience or viewers. The second picture, for example, gives the message or impression of power or business. The third on the other hand gives the idea of a musician.

The first is called aqua (552*420) painted in 1999, the second is business (550*500) painted in 2002, then Sean (600*450) painted in 2010. The fourth is politics (450*512) and then individual (552* 350) both of 2008.

The first is mom ( 552*350), then Benny Goodman (600*420) both of 2009. The fourth is a Paul Benny (552*350) and lastly Sean Paul (600*400) both of 2010. These portraits demonstrate the artistic prowess exhibited by Paul Benny. They are painted exemplarily with thematic presentation of the concerned contexts. it is crucial to understand the artistic provisions entailed in these portraits in order to understand the prospected themes.

Style

• Paul Benney’s art style is mainly realism.
• He is a portrait artist and thus the painting must appear real.
• The realism style developed in the 18th century in France.

Paul Benney’s art style is a mainly realism. This is mainly because he is a portrait artist and thus tries to ensure that the painting appear more like the actual person. The realism style developed in the early 18th century in France. The phenomenon has spread considerably to various parts of the world as demonstrated by numerous artists globally. This artist has endured to construct various portraits and painting them with respect to realism.

Process

• The process begins with sketching the head and then other parts.
• He usually ensures that the person being painted is in a good and comfortable posture.
• The initial preparation involves explanation to the person being painted the time requirement since the whole activity takes about 8 hours.
• Before he starts painting, he ensures that the ink is properly mixed so as to obtain high quality.

The process usually begin by Benney sketching the head when starting a new portrait. The person being painted must sit in a fixed position and they must be comfortable in the position that they have taken. Nonetheless, well-taken snaps can also be used in case the client is not available. This is important for Benney as he wants a position that will be good when conveyed on canvas. Benney usually first meets the person to be painted so that he can explain to him or her the time requirement and commitment. Once the person is in good posture, he starts painting and the whole activity could take an average of 8 hours.

Practice

• The practice is usually structured in a way that it enables objective judgement, assessment, and interpretation.
• It involves the use of new ideas, beliefs, combinations of thoughts and actions.
• The practice is usually in the studio and involves sketching to get an idea on how the final piece should be.

The practice is usually structured in a way that it enables objective judgement, assessment and interpretation. It involves the use of new ideas, beliefs, combinations of thoughts and actions. The practice is usually in the studio and involves sketching to get an idea on how the final piece should be. This is a critical provision in this context. The entire phenomenon indicates how Benny structures his artistic ideologies, put them into practice, and embrace them in his artistic endeavors. it is crucial to understand various provisions.

Reception and Personal Opinion

• Paul Benney’s art work has received a global reception.
• This is mainly because of the themes and concepts that he has targeted.
• The quality of his work too is high.
• His artworks have also received recognition among other artists.
• My opinion is that the works he has done has received the recognition they deserve. His endeavours are commendable since he purely uses his talent.

Paul Benney’s art work has received a global reception. This is mainly because of the themes and concepts that he has targeted. The quality of his work too is high and this has enabled his work receive international recognition. His artwork has also received recognition among other artists. This has been because of his combination of style and the use of different concepts.

He is an international portrait artist and this has enabled him win awards. In 1995, 1996,2000 and 2008, some of the art works that he has done were included in the BP Portrait awards Exhibition. In addition to that, he was selected for the awards in 1997 and 1999. the works that he has done are also exhibited in various museums such as the Metropolitan museum in New York, the National Gallery in Canberra and the National Portrait Gallery in London. These have earned him more recognition among other artists who have appreciated his art works.

Personal information

Edward Ruscha is an American artist who specializes in making paintings, photography, drawings, book art, and films (Dean 116). Ruscha was born in 1937 in Omaha, the largest city in Nebraska, and is currently based in Culver City, California (Kantor 23). As a young boy, Ruscha often showed numerous signs of his strong interests in artistic work, as clearly manifested in his love for cartoons and numerous drawings (Ross 54). Ruscha was lucky to have supportive parents who always looked forward to giving him their best support.

Ruscha spent most of his childhood years in Oklahoma City, despite being born in Nebraska (Ross 77). In 1956, Ruscha made a bold step towards fulfilling his dream of becoming a commercial artist when he moved to Los Angeles. In the same year, he enrolled for a course in arts at the California Institute of Arts, which at the time was known as Chouinard Art Institute (Dean 119). While in school, Ruscha was involved in numerous activities such as editing and producing an art journal called Orb.

This helped him to develop a deeper relationship with artistic work and the use of texts in describing paintings. He also made a few connections with people that have played a crucial role in his career to date. He had also started displaying his work in various exhibitions across Los Angeles. Ruscha had gained fame for his close working relationship with numerous galley groups.

After completing his studies, Ruscha got a job in Los Angeles, working as a layout artist for two advertising agencies (Dean 124). Some of the famous artists that Ruscha worked with at the time include Ken Price, Robert Irwin, and John McCracken, among others. In 1969, Ruscha also worked as a guest professor of art at the University of California, Los Angeles (Dean 131).

Achievements

Over the years, Ruscha has had numerous achievements, which have placed him among the all-time greatest artists in the world. Ruscha received his first award in 1956 when the Oklahoma City’s Chamber of Commerce recognized his efforts and skills in graphic design (Kantor 30). This happened before he started the course of the art, a clear indication of his talent.

In 1967, Ruscha received an award from the National Council on Arts, Washington, DC, for his exemplary paintings that gave people a different perspective about various elements in the society (Kantor 42). In 1969, Ruscha achieved another feat in his career when he successfully received a grant from the National Endowment for the Arts Commission in order to expand his artistic projects (Kantor 48).

In the same year, Ruscha had a two-month-long partnership at the Tamarind Lithography Workshop in Los Angeles, California (Kantor 53). Even in the 21st Century, Ruscha still has a huge impact on the American art industry and the world at large. In 2001, he became a member of the American Academy of Arts and Letters through an elective process that made him a member of one of its influential departments (Kantor 44).

In 2004, Ruscha reached another milestone in his career when he was elected as an Honorary Royal Academician of London’s Royal Academy of Arts (Kantor 61). Apart from this and other numerous awards, Ruscha has received three honorary doctorate degrees in art from American schools of art (Kantor 80). Edward Ruscha has been nominated on several occasions in awards that recognize influential people across the globe every year.

Early influences and some of his works

According to Ruscha, some of his greatest influences in a career as a commercial artist happened during his time growing in Oklahoma, his friends at teachers at the art school, as well as living in Los Angeles (Dean 168). Initially, his greatest area of interest was in graphic arts before changing to painting. This transformation was influenced by an artist called Jasper Johns. Johns had written a very informative article on artistic work in a magazine that Ruscha managed to read.

The landscapes of Los Angeles and California also influenced the work of Ruscha, especially in regard to the themes and styles developed in his paintings (Ross 200). Ruscha has also drawn a lot of inspiration from Hollywood. The film industry of the United States is very visible in the artistic works by Ruscha. This is mainly the reason why his works are closely linked with the pop art movement.

One of his earliest and most famous works is a movie called Premium. Ruscha produced the film while teaching at the University of California. His earliest publication was a 1966 book called Every Building on the Sunset Strip (Dean 179). This book was highly influenced by the southern California landscape, as it had numerous photos of the boulevard stretch.

Other notable books that Ruscha has published over the years include the 1964 Various Small Fires, the 1968 Business Cards, 1965 Some Los Angeles Apartments, and the 1962 Twenty Six Gasoline Stations (Ross 209). Ruscha also had a number of paintings that made him famous such as the 1966 Standard Station, the 1962 Large Trademark, and the 1982 Hollywood. Ruscha used his paintings to give people a different view of various elements about life and their environment (Ross 221).

Ruscha also admits that having a religious upbringing has influenced his works a lot over the years. Being brought up by Catholic parents has helped Ruscha to use the concept of religious imagery in his work. His most famous work that incorporated religious imagery is the Miracle series (Dean 200). Most of the artworks published and exhibited by Ruscha have influenced the development of the art industry across the globe. They are quite impressive and provided a lot of motivation for aspiring artists.

Type of art movement

The artistic works of Ruscha embody a pop art movement that was characterized by shifting allegories of life in the United States over the last couple of decades (Schwartz 60). He popularized the movement through art, which he used to represent various elements of life in America. Some of the notable elements that were commonly represented in his arts included Hollywood, stylized gas stations, as well as the impressive landscapes in Los Angeles (Schwartz 77).

Ruscha also incorporates various styles in the choice of words used in his works, which demonstrated the manner in which linguistic development was happening at the time (Schwartz 80).

Experts describe his artistic work as one developed along with the American reality of a colloquial speech that focused on describing feelings, appearance, and the role of people in influencing change in the society (Ross 240). During the time when Ruscha was joining the art institute, he had already started gaining popularity for his role in influencing the growth of the pop art movement (Dean 300). He received much recognition for his art pieces that were characterized by a lot of text.

Works Cited

Dean, Robert. Edward Ruscha: Catalogue Raisonne of the Paintings: 1983-1987. California: Gagosian Gallery, 2007. Print.

Kantor, Jordan. Drawing From The Modern. New York: the museum of modern art, 2005. Print.

Ross, Leslie. Language in the Visual Arts: The Interplay of Text and Imagery. New Jersey: McFarland, 2014. Print.

Schwartz, Alexandria. Ed Ruscha’s Los Angeles. New York: Cengage Learning, 2007. Print.

Introduction

Many people including parents, engineers and other ‘proficient career’ people look down upon illustrators- artists and designers especially students who join colleges or other institutions to take this as a career. However, through the years, there is certain evidence that many illustrators are rich and great people in society. They have contributed tremendously to the social, political, emotional, economic aspects of the world.

This therefore has given many of the young people; I included great motivation to venture into the field of Art and Design. Hence, challenging the world’s perspective on the same.

The three major artists and designers

The people I believe to be the three major artists and designers include Gavin Pledger of England (U.S.A), Laurie Rosenwald of California, and Thiery Doizon of United Kingdom. They have indeed been a great influence in my interest to art and design and have greatly contributed to the economic growth, political and social enhancement of their nations.

The importance of these artists and designers

Gavin Pledger is very influential to me because since he was young till now, he has displayed a very passionate and active involvement in Art and Design. He is a critical and creative thinker and also his talents and interests are widespread over a variety of fields including illustration, art, graphic design and architectural design. Through architecture, Gavin has learnt to view the physical and cultural world around him in a totally new way. He has obtained a variety of clients all around the world since he likes traveling and learning from others. Hence he is very universal in his style and always adapts to match any brief both in Art and design so as to ensure client satisfaction (Pledger, 2008).

Laurie Rosenwald is another great motivation. Though rejected at first when he applied for the Graphic Design, he did not give up until he got accepted in the second year. He worked hard through good relation and assistance from the teachers and obtained the best out of illustration and graphic design (Rosenwald, 2002).

Finally, another great motivation in art and design is Thiery Doizon, who is a visual artist majoring in concept art, concept design, illustration, sculptures, models and visual effects for movies. He has worked as a freelance artist in various companies and studios hence enhancing his skills as an artist even though he studied Three Dimensional Design at the KIAD of Rochester (UK). He is also been engaged in group work together with other freelance artists hence providing creative work to clients (CG Explorer, 2006).

Ways to contribute or make a difference to the world through my work

Through the motivation and influence from the above three illustrators, I would like my own work to be better and exemplary compared to what has been done by others. I desire to create world’s loveliest illustrations through learning more on other illustrators’ work and try to improve where they have not done better or have failed.

I would like my own work to be great therefore earn great pay which will contribute to economic growth of the world. Also, through the pay, assist the less fortunate in society hence help fight the world’s largest pandemic, that is, poverty.

Conclusion

It is evident from the three illustrators that interest, persistence and hard work in illustration including art and design is essential and have substantial results. Therefore, in order to achieve the best and make a difference in the world, I need to imitate their example.

References

1. Rosenwald, Laurie. “ Illustration: Graphic Design’s Poor Relation.” AIGA Design Archives. 2002. University of Chicago Press (Chicago, Illinois). 2008. Web.
2. Pledger, Gavin. “Gavin Pledger Studio.” 2008. Williamsburg, Virginia U.S.A. Web.
3. CG Explorer. “Thiery Doizon “BARoNTiERi”, Concept Artist and Designer, Illustrator, Visual Effects Artist, Canada.” Steambot Studios. 2006. Massimo Curatella. Web.

The reading encapsulates two major topics, which are the art itself and environmental issues. It is interesting to see how artists can convey the message and bring awareness to the environmental impact of the modern human lifestyle, which generates large amounts of waste and pollution. The majority of these waste products are mostly comprised of non-biodegradable materials, such as plastic. One of the most eye-capturing arts is the “Soup” created by Mandy Barker, which depicts waste debris and plastic on a dark black background. The demonstration cleverly conveys three key elements, where the first one is directly addressing the oceanic pollution problem.

The second underlying message can be seen in how the plastic and waste debris are positioned in order to resemble marine life forms. The third idea can be found in the dark background, which might be put to convey the death of oceanic fauna. An inattentive look at the image can give an impression that the art depicts marine life forms, such as jellyfishes and octopuses (Webster). However, after a more attentive and thorough examination, one can see that all objects are comprised of waste products, which are shaped to resemble the victims of the given pollution. The dark background sets the overall tone and emotional mood for the image by making it defeatist, which is evidently attributed to the victims.

Although there are several different approaches to eco art, all of them play a major dual role in raising awareness on the pollution problem as well as creating aesthetically appealing art. Therefore, it is of paramount importance to encourage such actions since it is a novel and creative form of channeling a message, which might be more effective than conventional measures.

Work Cited

Webster, George. ” The Eco Artists Turning Trash into Treasure.”CNN, Web.