Late 19Th Century Japan

Late 19th Century Japan
In the nineteenth century, Japan experienced a traumatic shift. This shift had elements from the
conservative isolationist policies of the shogun dominated edo period to the large and rapid spread
drive to modernize and engage with the rest of the world that characterizes and personalizes the
meiji restoration. during the early 19 century and the late 18 century the tokyo school of fine arts
was opened the school's emphasis on the Japanese traditional arts rather than on western art
opitimizes the country's renewed interest in native culture and is a part of an effort to seek a modern
form of Japanese form of artistic expression. Japan during the early nineteenth century was
flowering into multiple types of art types that Japanese citizens would never even think about being
created at the time. during the prewar time arts and buildings were being created during this time.
also the first manga was printed during the meiji period. ... Show more content on Helpwriting.net ...
usually the art was printed onto linen then put in the books. the first response of the Japanese to
western art forms was open hearted acceptance. the second response was a pendulum swing in the
opposite direction spearhead by okara ozaku and the american ernest fenollosa who encouraged
Japanese artist to retain traditional themes and techniques while creating works more in keeping
with contemporary taste. it was a stratigy that served two extend the influince of japinese arts.
during these times people were deppresed due to the fact that thousands were dying daily. during the
times of the endo period painters and artist would paint with bright and light colors allso they would
paint nice and beutiful landsape paintings and forrest enviorments. durning the endo period
archatechture was beautiful and one of a kind the structures would be complex and highly elegant at
these
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It is an inherent tendency of human beings to shy away...
It is an inherent tendency of human beings to shy away from boundaries enforced upon us, while we
still desire to push beyond the limit. Boundaries are, after all, set by humans. Therefore, do we not
have the upmost right and ability to stretch those borders until they collide and unite in complex
harmony? Creativity, which includes art, requires a certain amount of these collisions to grow and
move forward. In the 1950's and 1960's, Paolozzi, Klein, and Cage blur the boundaries between art
and life by using objects as art, life as still art, and life as moving and sound filled art. As a believer
that "inspiration is where you find it," Paolozzi chooses to form art through stagnant objects as a
way to unite dream with reality. Inspired ... Show more content on Helpwriting.net ...
Magazines announced Klein to be the artist of space, which denounced NASA's lunar expeditions as
phony. John Cage shows life as a moving and sound filled art to redefine performance art and art as
a whole to now more include the audience in the actual creation of art. His reason for making this
choice was to shake tradition and show that music performance is not strictly defined on a page.
Cage was amazed by the connections between the mind, soul, and sound. His long search for pure
answers led him to ask tough questions. He believed that good music aligns with good living, but to
further explore this idea, he needed to choice how to define even the simplest of words. After all,
how can one live their life based on words and phrases that they do not understand? Often joked to
be the silent piece, Cage's piece 4'33'' attunes listeners to silence as a structure within musical
notation, rather than intending to simply shock his audience. His goal with this piece was to
challenge assumed definitions about musicianship and musical experience.
Through a study of Paolozzi, Klein, and Cage, we see how and why artists in the 1950's and 1960's
began to blur the boundaries between art and life. Feeling a need for change after the war, pushing
boundaries simply became a necessity. Collages, paintings, and performances all ignite an ability to
inspire and be inspired. This is one important reason why

Cubism And Surrealism
d. He exerted an enormous influence on the development of Cubism, Constructivism and the
modern advertising poster as well as various forms of applied art.
e. Surrealisms also left its mark on Leger, loosening up his style and making it more curvilinear.
f. Léger's unique form of Cubism that relied on cylindrical forms was influential to many abstract
painters and sculptors, including Henry Moore, while his bold use of color in combination with his
idea of art as something that "everyone can understand" inspired many Pop artists. His belief that art
can unify people may even have influenced community–based art as activism movements, such as
Fluxus.
g. Léger influenced many New York School painters and administered a lecture series at Yale ...
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3. In its grip on recognizable subject matter and the illusion of three–dimensional interspersed with
experiments in abstraction and non–representation, Léger's work synchronizes the challenging
dualities in much of twentieth–century art.
4. "His art examined the way in which basic primary and secondary colors can be put together with
black and white in order to make a canvas that could be appreciated without having to read it as a
certain scene or narrative."
III. Examples of Work
1. Nudes in the Forest (1909–10)
a. This painting is considered Leger's first major painting. It was showcased at the Salon des
Independants in 1911.
b. It displays his break from Impressionism and his alliance with Cubism, particularly in his
monochromatic palette and his breaking of form into geometric shapes.
c. His attention on drawing and form rather than color indicates his influence from Paul Cézanne.
d. Although the painting involved cubism, it was very distinct. Leger does not abandon three–
dimensionality and volumetric form to the same degree as Pablo Picasso and Georges Braque whose
canvases from this period lack all but the merest illusion of space.
e. The use of cylindrical form, his interest in nature, and machine like forms is what

Yoko Ono's Cut Piece
YOKO ONO'S "CUT PIECE" was first performed on July 20th, 1964 as part of an evening of works
billed as "Contemporary American Avant–Garde Music Concert." Yoko Ono sat in a polite Japanese
sitting position "seiza" –– for formal or respectable environments and asked audience members to
cut off a piece of clothing and take it with them. This she referred to as a "strip–tease show" to "strip
the mind." The obvious interpretation of Ono's cut piece is a response to sexual aggression on the
female form, and the the violation of a woman's personal space. It is one of the most memorable
pieces of the Fluxus movement and a clear "prototype for feminist art." However, there is more to
distinguish from Yoko Ono's piece. The context of this piece had a darker underlying motif for the
meaning of the naked body, and the tearing away of clothes. It was a direct response to the bombing
in Hiroshima and the decade long artistic censorship of the Hibakusha (atomic survivors.) Ono's ...
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For some, Fluxus employs the absurd to escape from the numbing truths of war; as one Italian critic
writes, 'Fluxus arises as the rejection of a reality that has left behind it the systemic carnage of
Auschwitz & and Hiroshima –to look at the even more sophisticated carnage of Vietnam'. For
others, the use of the individual body with its expressive or emotive gestures in art is viewed as a
redemptive return to subjectivity" (page 105) this return to subjectivity is something that yoko ono
was inviting the audience to do with her and be mindful of the relationship to certain traumas that
one may have experienced. Whether it be a violent act of war or an aggression on the female form,
there was something very symbolic about Yoko Ono's piece. It can be broken down and dissected in
three separate

Visit To An Art Museum
At first, I didn't want to go to the museum. That day, I was exhausted after finishing school, so going
all the way to San Francisco wasn't exactly my idea of relaxing. Thankfully, my mom insisted we go
that day, since it was my dad's day off. I felt frustrated that we had to go right then, but my mom
forced us. After getting over my initial reluctance, I got butterflies in my stomach. This was only the
2nd time I'd been to an art museum, so I wanted to make the most of it. When we first arrived, we
looked around at some paintings. I visited an exclusive temporary exhibit of Edvard Munch which
included a surprising amount of paintings of naked women. Nothing caught my eye in the first few
galleries, but then I stumbled on an exhibit called "In Character" by Nam June Paik. As soon as I
walked in, I got embarrassingly excited. I constantly had to stop myself from running around the
museum like a madman. All the TV sculptures and simple, childlike drawings had been just so
incredible to me. The piece that I really enjoyed the most was a sculpture called "Self–Portrait."
The culture this work represents is the Neo–Dadaist movement known as Fluxus. Fluxus was a very
loosely organized group based mostly around New York City. Like Dadaism, Fluxus artists didn't
believe keeping art in museums. Unlike previous art movements, Fluxus was "anti–art", according
to George Maciunas, the founder . Fluxus was a means to break down the boundaries between art
and life. The historical period Nam June's art represents is the late 20th century, although this
specific work was created in 2005, towards the end of his life. The style it represents is also Fluxus.
Although Nam June Paik "left" Fluxus, the free, limitless style of Fluxus remains in his art. "Self–
Portrait" is a mixed medium sculpture. I believe the theme of the work is to show that nothing is
sacred. Without the signature, the TV would just be an old TV. This theme is very like the Fluxus
movement and shows how important Fluxus was in Nam June's life.
Nam June Paik reflects the 20th century by using television in his work, which was revolutionary in
his time. Nam June Paik was a Korean–American born in Seoul, Korea. He had to flee from Korea
when he was young,

Jannis Kounellis Research Paper
Jannis Kounellis, born in 1936 in Piraeus, and living in Rome since 1956, is one of the most
influential proponent of radical and revolutionary art of the 60s. Since 1956, he has been active in
Italy, instantly becoming recognized and praised all over the world. Before the Arte Povera has been
defined by the curator and art historian Germano Celant in 1967, Kounellis experimented within the
medium of painting, incorporating found objects and non–traditional material into his art,
consequently adopting more performative approach towards his art. By the end of 60s, the time of
the Amalfi Festival (1968), "When Attitudes Become Form" at the Kunsthalle Bern, and "Op Losse
Schroeven" at the Stedelijk Museum in Amsterdam (both 1969), Kounellis held an individual show
at the Galleria L'Attico in Rome (1969). ... Show more content on Helpwriting.net ...
Besides the Arte Povera circle, Kounellis has also greatly contributed to the Fluxus movement in the
mid–70s, and around the same time he began to appear at the most esteemed exhibitions, such as
biennials in Tokyo, Paris and Venice, and the Documenta in Kassel (1972, 1977, 1982). Today his
art constitutes an essential part of numerous museum and public collections, including the MoMA
and Guggenheim in New York, MOCA in Los Angeles, Centre Pompidou in Paris and Tate Britain
in

The Contemporary Design Practice And Theories Of...
7. The 'First Things First' Manifesto 2000 states "Consumerism is running uncontested; it must be
challenged by other perspectives expressed, in part through the visual languages and resources of
design". Critically discuss, with reference to the contemporary design practice and theories of
consumerism and/or sustainability.
Created in 1964, the original 'First Things First' Manifesto called for "more lasting forms of
communication" to become the focus in design over commercial advertising for products that the
author's deemed unworthy, such as "striped toothpaste" and "stomach powder" . Thirty six years
later another group of designers re–released their own version of the manifesto under the same
name, again calling for a new kind of meaning and purpose for design . They stated that
"consumerism is running uncontested; it must be challenged by other perspectives expressed, in part
through the visual languages and resources of design" . According to the manifesto, the world saw
designers purely as advertisers, and called for more worthy focuses of design to be encouraged,
similarly to in the original manifesto. In this essay, how consumerism was running uncontested will
be examined, particularly in terms of advertising and the commercialisation of culture when the two
different manifestos were written (1964 and 2000). Also, the essay will highlight how this is being
opposed through anti–consumerist works, including works made by those who created both the
original and

Significance Of The Fluxus Movement In Yoko Ono's Cut Piece
It is very beneficial to distil a concept to its essence to assist with the exploration of certain notions.
Knowing what lies at the core of our subjective message as film makers will ultimately have the
ability to capture the target audience more effectively, especially with an experimental production
where the subject can be allusive or a test to grapple with. When discussing the experimental
treatment of conceptual relevance, a good artistic reference for this is The Fluxus movement but
more specifically Yoko Ono's Cut Piece. Fluxus was an avant–garde art movement that emerged in
the late 1950s as a group of artists who had become disenchanted with the elitist attitude they
perceived in the art world at the time. These artists looked to

Johnny Sandler Research Paper
Johnny Sandler, a master artist of a multitude of mediums. Standing 6'3", nearly 250 pounds, and
covered in tattoos from head to toe; he was quite intimidating arriving at the interview. Johnny was
born March 5th, 1980 in Grove, Oklahoma. He spent most of his childhood living in Nevada, and
later moving to Pennsylvania with his family. Being one of eleven sibblings, attention in the house
was always fought over. Although, being extremely chaotic Johnny always managed to find room to
learn how to paint and play music from his father. His father was a professor, musician, and artist:
also obtaining four Ph.D.'s. Being such a significant portion of his life when his father passed, he
suffered a "tremendous blow" and moved to Chicago. This is where ... Show more content on
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He provided him in the "value of paid time for training." This is where he acquired knowledge to
create enormous murals. He explained that while living in Chicago, he had met his wife Leslie. Not
only that, he met a man called Bill "PICASSO" Gaglione whom he made a "father / son"
relationship with. I asked, "Who is Gaglione? And was his name related to the "PICASSO." With a
full grin upon his face Johnny said "he is a world famous 'Fluxus' and 'DADA"' artist. He earned his
name by spending much time with Pablo Picasso, and one day Picasso said to Gaglione while
admiring his work, "I am Picasso, and you're Picasso." Ever since then he had kept his name. Fluxus
and DADA is a loosely organized group of artists that spanned the globe artists. They did not agree
with the authority of museums to determine the value of art, nor did they believe that one must be
educated to understand a piece work. They were also noted for blending multiple artistic media and
disciplines in the 1960s. Johnny claims within his time as Gaglione's understudy "[he] learned more
about art than one–hundred people could learn in a thousand different lifetimes." Johnny's
inspiration to create his works today is built upon his experiences from

Ears Have Walls by Steven Connor Essay
Intro:
In Steven Connor's 'Ears Have Walls: On Hearing Art' (2005) Connor presents us with the idea that
sound art has either gone outside or has the capacity to bring the outside inside. Sound work makes
us aware of the continuing emphasis upon division and partition that continues to exist even in the
most radically revisable or polymorphous gallery space, because sound spreads and leaks, like
odour. Unlike music, Sound Art usually does not require silence for its proper presentation.
Containers of silence called music rooms resonate with the aesthetics and affects on the body of a
gallery space; white walls, floorboards to create optimum acoustics, and an ethereal sense of time
and space. When presented in a gallery space, sound art's ... Show more content on Helpwriting.net
...
We walk around and we move through constantly changing soundscapes, different types of music,
different genres of music overlap all the time.... So the gallery is the total, immersed experience and
hopefully that transforms the gallery from what we think of as being a rather sterile space for
showing art to something which is much more alive and human.'
A desire for non–separation of sound artworks can make for an overwhelming but strangely
relieving or refreshing gallery experience. Even though Toop was excited for the possibility of the
overlapping of sound objects which could leak into each other, some artworks including the scarcely
audible scratchings and susurrations of Max Eastley's ethereal metal figures were at risk of being
swamped by the glorious but omnipresent headachy bruise of the sound that throbbed from Pan
Sonic's low frequency installation. Connor reveals that, the solution was a traditional one. Putting up
extra walls within the gallery space to form 'auditory membranes' could insulate and contain the
different sound events.
2nd PARA:
Sound is an integral part of being and orientates us in the world. Sound is exploratory rather than
merely metric or analytic, because sound does not give us just the outline or contour of things – their
size, shape and position – but also gives us the sense of their quality, or their relation to us: their
texture, density, resistance, porosity, wetness, absorptiveness. Sound art, originally

Angela Tiatia Walking The Wall
The body has been cut, burned, exploited, sexualized, glorified, abused and stretched out to its
limits, as a form of curiosity in art. The body has been a central theme throughout art history and in
the contemporary world today. It is recognized as a symbol of identity, social politics, culture and
belonging. Art cannot be made without the presence of the body and its interaction with the material
world. Artists have continually tried to redefine the meaning behind the encounters of the body and
the body as the medium. From early works in Western paintings and sculpture, the body served as an
idealized figure, only made to represent the mythical, biblical, the rich and historical figures. The
representations of the body seem to only serve ... Show more content on Helpwriting.net ...
Angela Tiatia, video work 'Walking the wall' is currently being exhibited, and is a good example of
how the body is used to discuss issues of identity and its relation to culture. TiaTia, works often deal
with the subject matter of colonization, globalization and gender. In the video work 'Walking the
wall', Tiatia is shown lying down on the floor, whilst she uses her legs to walk up the wall in heels.
By walking up the wall she reveals her sacred malu, a tattoo that is a Samoan culture taboo. This act
her body takes is a symbol of protest, as she opens her legs she questions the unfair female
expectations Samoan women face, as they are expected to cover it, while men can wear their own
proudly. As well as, the act of opening her legs is an indication to western culture and the sexualized
expectation of feminity. The two contrasting cultures of covering up and uncovering, is reflected in
the tension of her legs as they continually walk up and down, in an exhausting matter, the viewer is
provoked to feel uneasy, wondering if she might slip. Like Sherman's films stills, TiaTia also
explores the ridiculousness of female expectations and pressure to conform. However, unlike
Sherman, TiaTia does not want any ambiguity in her works, as they are more personal and culturally
charged. In addition TiaTia works, reflect her identity

Performance Works of Artists in the Decades after Minimalism
Enter At Your Own Risk
In this essay I will analyse performance works, particularly by female artists in the decades after
minimalism. How they used both the literal body, and participatory art as a vehicle to
communication contemporary art practice. Evaluating the affects these works have had on
contemporary art practice.
The role that minimalism played in the advent of performance art
Minimalism's greatest contribution to performance art was its dismantling of metaphor, the creation
of a purely self referential art, an art that didn't refer to anything outside of itself. Minimalisms
banishment of the figure and its reinscription of the body back onto the viewer set the groundwork
for an explosion of performance art. The main catalysts for this being women artists in the 1960's.
For these artists who were already under represented within art, the banishment of the figure was a
complete anathema. This wave of feminist artists was the main stimulant for performance art.
The body in or on the terms of post minimalism would have to be a literal body without illusionistic
terms. As Yoko Ono put it, "tackling art making with my entire body." The question they asked was
a confrontation with the successful dismantling of metaphor that predated them. On what terms
could the figure return? This presence of the literal body could only lead to the performer.
From the 1960s to the end of the 1980s artists such as Yoko Ono, Chris Burden, Carolee
Schneemann, Marina

Nam June Paik And Bill Viola
Both Nam June Paik and Bill Viola are celebrated artists around the world for their work in the
video and media industry. They were able to change how film could be produced with the
development of the video–synthesizer by Paik and the stylistic approach by Viola. They both lived
in the United States but traveled around the world and studied other cultures. Today they are
recognized as important figures in the revolution of the media industry and have both received many
awards.
Nam June Paik was born in 1932 in Korea and revolutionized the film industry with innovative
ideas and use of technology to enhance the images and experience of video for the audience. As a
teenager, he had to leave South Korea due to the Korean War and went to live in Japan where he was
able to attend university and graduate in 1956. The major turning point in his life was ... Show more
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He worked with a variety of people to perfect his video making and technique including the use of
camcorders and software which allowed him to distort images. Above is a work called Dogmatic by
Paik. In fact, this technique, known as the Paik–Abe video–synthesizer after its two creators,
changed filmmaking. He was able to push the boundaries of modern filmmaking at the time in order
to create new styles and techniques which makes him an extremely celebrated filmmaker to this day.
As proof, he has received a variety of awards for his efforts. Bill Viola was born on January 25,
1951 in New York, New York. His interest in filmmaking and cinematography began in 1969 when
he attended Syracuse University and earned a bachelor's in the Fine Arts. Similar to Nam June Paik,
Bill Viola traveled around the globe to expand his horizons and experience a variety of videoing
techniques. He visited Japan and studied Easter and Western culture and art. He was interested in
seeing how far he could go with filmography and how he could evoke emotions from his

Analysis Of Christmas Bloomington Project '
Shiyao Luo December 4, 2015
Limor Cohen Spea– A450
Christmas Bloomington Project
(Limor's written part)
According to many studies, social interaction is consistently proven as correlated with health. This
research has been successful in proving the number of benefits resulting from these human
relationships such as; reduced stress levels, lower blood pressure, and cognitive health. In order to
facilitate these interactions, many place makers aim to reject the increase of inhospitable
environments and rather implement environments that promote socialization. In his book, Street
Reclaiming, David Engwicht successfully expresses the ways in which we can foster these
spontaneous exchanges ... Show more content on Helpwriting.net ...
In our minds this included; a red bow, a number of ribbons in the holiday's traditional colors, and
candy canes. Additionally, we purchased spray chalk in order for those who choose to stop to
express their holiday wishes in a fun and playful way. We intended to incentivize them to stop by
offering them a candy cane and allowing them to express themselves freely with the medium that we
choose. The result of this would not only be the spontaneous communication that we experienced
with them in that moment, but also the potential future interactions it may create as a result of
people wanting to stop because they are intrigued by the product of the project we created. When
decided where to implement this idea, we considered a number of open spaces. However, we really
wanted to choose a space that is generally viewed as unappealing in order to put our ideas to the test.
We were determined to find a place where people must often pass through but never see a reason to
stop. Finally, we agreed on setting the project up on a muddy, woodchip path that is a shortcut often
used by music students to get from the Musical Art Center to the Auditorium most efficiently. This
area has recently looked especially off–putting in light of the heaving construction adjacent to it. As
we had hoped, this seemed urge people to stop. Many were curious as to what we were doing, and
once we

Analysis Of Jill Orr's 'Pushing The Perspective'
PUSHING THE PERSPECTIVE
Pushing the Perspective is an exhibition of artworks in which the artist has depicted their own say
on modern problems that face politics. Along with this their art goes on beyond the boundaries of
art, the 3 featured artist are anything but the same, however they all come close in their use of
conceptual art. The conceptual art movement came into existence in the late 1960 and 1970s, Its
purpose was to rebel against the boundaries of art. Where the idea behind the art is more important
than the visual component of the art works. Examples of conceptual art is in body art, performance
art, installation, video art, sound art, earth art or Fluxus activities, where the object is only there to
deliver the concept. The artist ... Show more content on Helpwriting.net ...
The style its self is known for breaking down conventional ideas about 'what art is' and challenges
the audience to think, in this case Jill Orr gets the audience to think about refuges and their
'promised land'. In the performance, we see Orr standing bare footed with a look of determination
and perhaps loneliness on her face. Her clothes are totally white, with a type of tunic with long
sleeves and pants that stop at midcalf, also including a small white hat that covers whatever hair she
has. A focal of the piece is the enormous red flag that Orr waves around in the wind. However, the
focus point would be the wooden skeleton of a boat that Jill stands on in all her pieces. The meaning
or purpose of the work is the natural human desire to search for land, but also incorporating the
modern day issue of refugees. The actual name of the work, 'the promised land' takes on its own
meaning. The words have a religious root, with Jewish and Islamic traditions, recalling Moses and
'the promised land'. But also, todays boat people, who travel from far off lands to get to a country
promised to be safe. This idea of refugees or boat people is continued using the boat in the photos,
but also in the locations of the work, being taken at princess pier for example, despite the intrigue of
the pylons in the background it was the site for immigrants from both World Wars. The large blood
red flag used can also insinuate the same idea of refugees, as the blood spilt in most uprisings from
history and the current Middle Eastern uprisings that record thousands of deaths. The boat its self,
would not float due to the skeleton like structure of the boat, this being the idea of the hopelessness
in the 'promise'. Jill Orr's piece the promised land, although simple, uses a powerful and relevant
idea which is clearly seen in the work. The

Nicole Oresme Research Paper
Nicole Oresme
Abstract
Nicole Oresme, also known as Nicolas Oresme, was born around 1320 in the 14th century on the
outskirts of the Norman city of Caen. Unfortunately, nothing was known of his family. Oresme was
known as one of the most famous scholastic philosophers of the middle age's. He was known for
many different subjects including; economics, physics, astrology, astronomy, theology, philosophy,
and mathematics. Oresme earned his doctorate of arts from the University of Paris between the years
of 1341–1342. In the same year he became grand master of the College of Navarre. He mainly wrote
in the language of Latin but also wrote in French [1]. Oresme was appointed canon in 1362 and later
in 1364 was made dean of the Cathedral of Rouen ... Show more content on Helpwriting.net ...
He came about the idea to use rectangular coordinates and geometric figures to explain uniform and
non–uniform distribution of various quantities. For example, he worked on the change of velocity in
relation to time. More importantly, this helped lay a strong foundation that later led to the discovery
of analytic geometry by René Descartes. Oresme used his geometric figures to give the first proof of
the Merton theorem, shown in figure 1 below. This theorem states, "The distance traveled in any
given period by a body moving under uniform acceleration is the same as if the body moved at a
uniform speed equal to its speed at the midpoint of the period [2]." Some believe that this resulted in
later discoveries of kinematics, affecting the later work of Galileo's.
Figure 1 Another mathematical contribution was the development of the first proof of the divergence
of the harmonic series. Oresme's proof had less advanced mathematics then the modern proof today.
His proof on the harmonic series was not touched on until later centuries, and was only replicated by
the Bernoulli brothers [1]. Oresmes proof groups the harmonic terms by taking 2, 4, 8, 16, and so
on, after the first two terms, and noting that each block has a sum larger than a ½ [3]. Resulting

Greek Theatre History
I believe to understand performance you must first understand what it's about and its history. One of
the biggest ideas in performance art is breaking the rule. Theatre was first discovered by ancient
Greece. The people of Greece first started doing performances to please the gods and to celebrate
them. They started with just a chorus, but over time people started adding more and more people on
stage. The first rule that came up from this is no more than three people on stage. The second was to
change characters you either went off stage or by the chorus and changed your mask. The third and
final rule was death accouris off stage, never on. As time went on more rules were slowly being
added and each artist, director, performer and playwriter would think of ways they could break or
bend the rule to make the performance more interesting to the public eye. As we move away from
theatre into other cultures we see that in history artist would sculped and paint the human body or
even modifying their own by adding things such as feathers, piercings, tattoos, ... Show more
content on Helpwriting.net ...
Around this time there was also the works within the Fluxus and Happening movement that focus on
the 'everyday' mimicking and unnatural life through Dada using contemporary dance. More
performances using Dada started to emerge. Yves Klein and Piero Manzoni used Duchamp's
versions of Dada by having the public sing. Other artist copied that by having the audience become
a part of their works. One of the concerns around the 60's when performance art was really starting
to become more common was the idea that the art work wasn't lasting. One of the main reasons art
has always been so popular was to make the artist or person in the art work immortal. People have a
constant fear of death. Artist using performance art are a part of an unstable system, with the idea
that a performance can easily be forgotten or disappearance rather than being

I Who Have Arrived In Heaven: Film Analysis
The contemporary art world has seen many changes throughout the years. Advances in technology,
viewer outreach, and money has allowed for the visual arts to accelerate at a faster pace. With the
advent of the Internet and social media websites, an implied growth of interests in the visual arts has
been developing. One example of the impact social media has on the contemporary art world is the
2013 exhibition I Who Have Arrived In Heaven by Yayoi Kusama held at the David Zwirner gallery.
Attendees waited three hours in line at a chance to participate in the Infinity Room and take a
"selfie" to upload to Instagram, a popular social media application that is photo centric. According to
a New York Times article written in 2013 for the exhibition, ... Show more content on
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Sotheby's approached this in a different way than most institutions would, by asking Drake to curate
the music to accompany the works in the exhibition that were selected and curated by Sotheby's
specialists. In hopes to boost sales in their private sector and some also speculate to garner younger
collectors– they are utilizing Drake's name to expand their pool of buyers in the best way they know
how, social media. The exhibition "I Like It Like This" showcases 56 works of contemporary
African–American artists', range from Jean–Michel Basquiat and Terry Atkins to Kara Walker and
Wangechi Mutu. Sotheby's thought it advantageous to have the global superstar musician interpret
the works through his selection of music. During the exhibition, visitors are able to listen to the
tracks via Beats by Dre headphones, a highly profitable electronics company co–founded by rapper
Dr. Dre. At the media preview, Sotheby's specialists urged viewers to take photos and share them on
social media, specifically Instagram. These specialists even challenged the viewers to pick their own
soundtrack for the selected works in order to be featured on Sotheby's website. As the specialists

An Multidisciplinary Art Form Of Experimental Music...
In its current incarnation, the multidisciplinary art form of Experimental Music Theatre is relatively
new in the art world. It encompasses a wide range of musical and theatrical forms and styles and is
often presented in unconventional venues. Similar to Wagner's notion of Gesamtkunstwerk,
Experimental Music Theatre seeks to integrate all the arts to create one complete art form. For
Wagner, this ideal materialized in his Operas, which he labelled music dramas. However, in contrast
to Wagner's dramas, where music, voice, poesy, painting, lighting, costume design, choreography,
and more came together to form a grand spectacle, an Experimental Music Theatre work normally
"eschews or subverts scenic illusions, dramatic representation, role playing, and fictional time."
There are no plots or roles to play; the musicians and actors are themselves, there and then, creating
the artwork in the moment thus blurring the lines between Life and artistic expression; a concept not
new in the art world.
Nontraditional music theatre has rarely attracted the volume of attention that Opera or Broadway
musicals have achieved. Perhaps because it has no traditional form, no set parameters to construct or
convey an artistic idea. It embraces and makes use of all forms and styles of music, theatre, and
media. This broad spectrum of available techniques, methods, styles, forms, technologies, etc., has
created endless possibilities by which to create and perform art.
Though the term Experimental

Anne Rorimer's Ideas Of Postmodernism
Anne Rorimer writes in the group reading text, Introduction, about the evolution of art. She notes
the writings of Clement Greenberg and his ideas of modernism and its differences from
postmodernism. Postmodernism is directly derived from abstract expressionism and shows the
evolution from painting to sculpture. Simply, modernists say their paintings are about the paint used
to create them, whereas postmodernist believe that paintings are about the painting themselves.
Support for the idea that postmodernism speaks directly about the work and not the medium can be
observed whilst looking at Piero Manzoni. Abstract expressionists held on to the belief of a painting
having no subject and only content. But, unlike abstract expressionists who use colors and forms to
give a piece its content, Manzoni used texture to give his art its own self–referentiality. Removing
color allowed the canvas to show through and be the texture of the painting. "The surface of his
canvases envince a full–bodied materiality marked by inherent roughness and surface irregularity
that serves to ... Show more content on Helpwriting.net ...
Examples of the canvas being used as a way of depicting content can be visible from the works of
Alberto Burri and Lucio Fontana. The method Burri used in his piece, Sackcloth, consisted of
cutting up pieces of burlap sacks that were glued on to the canvas. Fontana also tinkered with canvas
manipulation by actually cutting, tearing, or stabbing the canvases. Elsewhere, artists like Yves
Klein and Ad Reinhardt had monochromatic paintings that put emphasis on how the paint looked on
the canvas. Andy Warhol took his art to the next level by using silk–screening for his painting to
remove brushstrokes entirely. His machine produced art had subject, but not really a content and
was mostly of pop culture. Once again, the paintings were paintings themselves, but they offered
their process of creation to be part of the art as

The Culture Of The 1960's
During our first module of Performance Cultures, we explored and researched into the counter
cultures of the 1960's; how those movements shaped not only the development of the performance
world but also the culture of modern day life. A prominent factor in the culture of the 1960's was the
art of protest. We as class researched heavily into the different areas of protest during that time, as it
really was an era in which the 'people' fought back against governments and elitist institutes. To
begin, we looked at the 'Hippie' culture; their shared beliefs and the changes they were trying to
make in the world. Many hippies used music to portray their political and cultural views. The use of
music meant that the messages were available to all, instead of being restricted to those with the
'right' education on politics. A huge proprietor within the hippie society was Bob Dylan who used
the music industry to spread their messages through songs such as "Masters of War" (1963) and
"Blowin' in the Wind" (1963). Protest songs were not only used throughout the hippie movement,
but are a thread that ties together many of the counter–cultures in the 1960's such as punk, and black
rights movements through soul and funk music. I particularly enjoyed this area of study; being a
trained and experienced singer, I very much took advantage of a situation in which I could learn
more about the roots of the music industry that I perform within. So, when we were asked to create
our own protest

Yoko Ono Research Paper
Yoko Ono is a conceptual artist, performer, singer, film–maker and peace activist, and Japanese
multimedia artist. She is known for avant–garde and expressive pieces. Her work spans countless
mediums. The following are works that highlight Ono's array of mediums both independently and
collaborative.
Ono's groundbreaking contributions to the art scene of the 1960s has led her to be described as the
most famous unknown artist by John Lennon. Recently, she has gained admiration for her
retrospective exhibitions of love, peace, and protest.
Bed–In (Performance)
Ono married Lennon in 1969 during the Vietnam war. They invited press to their hotel room in
Amsterdam during their honeymoon. It was a form of non–violent protest war. The couple took the

1950s Women's Magazines
Right of the bat, the 1950s saw magazine and publishing companies facing an exponential growth in
popularity. Due in part to the public's fear of both the "Cold War" and the "Korean War", family
oriented magazines like The Saturday Evening Post and Look continued to post articles highlighting
current events, fictional stories, family life and illustration. As they grew to the top of the consumer
market, women became the primary demographic for these magazines. The most prolific magazines
in the women's market where Ladies Home Journal, Woman's Day, Woman's Home Companion,
Good Housekeeping, Redbook, McCall's and Cosmopolitan. (www.illustrationhistory.org)
However, men's magazines Playboy and Esquire, were also able to share a piece of the fame. As a
result, illustrators such as Al Parker, Austin Briggs, John Whitcomb, Joe De Mers, Bernie D'Andrea
and his wife Lorraine Fox were able to maintain a steady workflow. The competition soon enough
was fierce, as advertising agencies gained notoriety, living magazine companies no other choice but
to give their illustrators strict guidelines to follow. Instead of the freedom they once had, illustrators
were forced to draw what the magazine companies wanted them to draw.
(www.illustrationhistory.org) ... Show more content on Helpwriting.net ...
In other words, blonde hair, dark–penciled eyebrows, red lipstick, and a "peaches & cream"
complexion for the females; and a tan complexion with their face half–hidden for the males. Rather
than reel illustrators in, these rules and regulations turned them away (www.illustrationhistory.org).
As the latter half of the decade kicked, a plethora of new art movements made their way into the
spotlight: Neo–Dada, Kinetic and Op Art, Gutai, Pop Art, Happenings and Fluxus
(www.theartstory.org). In addition, illustrators Bernie Fuchs, Ben Shahn and Joe Bowler also
became prevalent during the

Analysis Of Beuys 's ' The Pursuit Of A Social Art '
Beuys' work revolved around an interaction with his audience in the pursuit of a social art. Beuys
defined "social sculpture" as "how we mould and shape the world in which we live." This is not too
dissimilar from Lefebvre nations of social space. It is within this context which he makes his famous
claim, "everyone is an artist." Here he envisioned an art form, in which society could be regarded as
one great work of art, (an interpretation of the Wagnerian Gesamtkunstwerk) to which each person
can contribute creatively. He viewed the art he made as being a "stimulant for the transformation of
the idea of sculpture. They should provoke thoughts about what sculpture can be and how the
concept of sculpting can be extended to the invisible ... Show more content on Helpwriting.net ...
It was during the 1960s that Beuys' theoretical thought about the social, cultural and political
function of art manifested in to a physical work. Perhaps one of his most seminal works, 7000 oaks,
exemplified his belief that art could take on a form which was defined as both interdisciplinary and
participatory. Beuys placed a pile of stones in the town Kassel, Germany. From above one could see
that this pile of stones created an arrow, which pointed toward a single oak tree. He stated that the
stones should not be moved unless an oak tree was planted in the new location of the stone, over the
course of several years 7,000 oak trees were then planted by people of the town. R
This notion of a social, participatory art form can also be seen in the writing of Nicolas Bourriaud,
who wrote "why wouldn't the meaning of a work have as much to do with the use one makes of it as
with the artists intentions for it." With both social sculpture and architecture, as with physical
architecture, a dialogue exists between use and structure. To a certain degree structure determines
use and yet use also effects structure. Use is both constructive and destructive, it manipulates and
transforms object to its needs. Contemplation – the way in which art would traditionally be
experienced, is neither constructive or

Essay On Yoko Ono
Yoko Ono "the worlds most famous unknown artist"
Ciaran Whelan
Yoko Ono is one the most influential performance, multi media and avante guarde artist of the 20th
century who`s work has been over shadowed by her personnel life. Born in Tokyo, Japan in 1933
Ono attended the prestigious Gakushuin Unversity, while here her family moved to America to
escape the war.Art appealed to Yoko `shortly after turning twenty years old, Yoko Ono discovered
art out of necessity. "Art is a means of survival,"`1 she discovered this living through WWII where
Yoko and her siblings would imagine all the foods they could not possess,this gave them hope in the
bleakness and became the purpose of much of her art. It was also the inspiration for her earliest
performance piece Lighting Piece (1955). ... Show more content on Helpwriting.net ...
In New York Yoko fully emersed herself in the artist culture and she rented a loft and would put on
exhibitions of experimental music and art. These exhibitions were where Yoko showed her first
works like `Painting to be stepped on` in which she wanted to get across the idea that art does not
always have to be framed and put on walls, to achieve this she placed a canvas on the floor and as
the title suggests people would step on it with paint on their shoes.
While in New York Yoko was asked to join an artistic movement named Fluxus. Fluxus is an
organisation of composers and designers, it is international and its purpose is to mix different artistic
media and styles. Although Yoko was involved in Fluxus she never officially joined `Ono's
subsequent two–year period in New York was filled with both Fluxusrelated activities and her
independent activities. Even though she was physically absent for the first two years of Fluxus
activities, she was considered one of the movement's founding

Joseph Cornell Research Paper
Joseph Cornell was born on December 25th, 1903, in New York. He spent the first half of his
childhood in Nyack, growing up with his brother and two sisters. However, when Joseph was only
13 years old, he and his siblings moved to Long Island with his mother, after the unexpected passing
of his father due to leukemia. Perhaps both the absence of a father and his brother's development of
cerebral palsy where what lead to Joseph's reclusive, yet responsible, disposition. Joseph later
attended Phillips Academy in Massachusetts for four years, but did not graduate with a formal
diploma. Afterwards, he moved back in with his mother, never receiving formal art training. Known
by his friends to have serious anxiety and odd fears, Joseph found peace ... Show more content on
Helpwriting.net ...
These were newspaper clippings and images, which he had carefully arranged. He kept over 160 of
these pieces, each which he felt had meaning, and categorized him by such. As demonstrated by
these two examples, Joseph liked to deal with themes and topics close to him, another example is
youth. Although creating art became Joseph Cornell's sole source of income, he despised parting
with his pieces. In particular, he did not want one person or gallery to have too much of his work, so
he sold it sparingly. Interestingly though, he did not mind giving away his art. I was generally to
women, although he was not known to be in romantic relationships. One relationship he was in for a
while, was his romantic connection to the Japanese artist Yayoi Kusama. They inspired each other
but ultimately parted ways due to his obsessive nature and jealous mother. This is a specific example
of his isolation. His mother overall discouraged Joseph from having any ideas of sex and love,
leaving him alienated and

Dangerous Effects Of The Fluxus
The Fluxus art movement presents an interesting combination of philosophic–based scores,
interwoven with potential risks. Fluxus, which encapsulates not only music, but performance art
holistically, entails compositions that often feature Cage–like parameters with an emphasis on
performance. Thus, scores are usually presented as a set of instructions rather than notated music,
which could also initiate debate regarding the definition of music. The scores that will be
philosophically analysed within the genre of Fluxus are Dick Higgin's Danger Music Number
Seventeen [Figure 1], Robert Bozzi's Choice 9 [Figure 2], Bengt af Klintberg's Forest Event Number
4 (Danger Music for Henning Christiansen) [Figure 3]. The dangerous aspect of Fluxus is presented
through all aspects of trauma. This is made apparent by Michael Nyman, who expresses a quotation
from Dick Higgins in relation to his Danger Music compositions, which states, "each of which
emphasized one spiritual, psychological or physical danger that seemed appropriate to the general
aesthetic I was using ..." . The nature of this genre of music, at least on surface value, does appear to
be unethical in the treatment of not only the performer but also the audience. This is particularly
perceived within Figure 1, which propels psychological and spiritual trauma upon the audience.
However, the score is not overtly unethical in nature and thus must be analysed within proposed
theories of moral evaluation. This, therefore, brings

Project Row Houses Analysis
Throughout the history of socially engaged art, Rick Lowe's Project Row Houses can be regarded as
one of the most successful projects in exemplifying how art and community can be unified together
to incite social change. Founded in 1993, Project Row Houses has managed to revitalize a
marginalized population in Houston and subsequently provided a collective space to instigate
dialogues between artists and residents of Third Ward. Although such community–art projects are
not uncommon in today's society, the intention of collaborating with disenfranchised communities
have been a long–debated question among art critics and members of the public. Since the beginning
of 20th Century, these works of art have been given different titles such as participatory art,
community art and activist art which falls under the umbrella term "social practice". Inspired by
early avant–garde movements such as Conceptualism, Fluxus, Dada, these forms of interventions
have seen an increase in the number of artists working outside the confines of the traditional
museum and creating works that liberate art from its aesthetic framework. Therefore in this essay, an
in–depth analysis of socially engaged ... Show more content on Helpwriting.net ...
Compared to other socially engaged art projects, Project Row Houses has received huge amount of
support from both public and private sectors in terms of funding (Cartiere and Willis 20).
Considering that the nature of socially engaged art can be rather provocative, how does one create a
piece of art/performance/installation that advocates for social justice without being too upfront about
the issues so as to prevent a cut in funding? Independent curator Nina Felshin's argument was,
"should critics of the system get money from the system itself?" (Felshin 35) Why would the
government or the state support such projects if they do not benefit anything from the

Yoko Ono Research Paper
The 1960s saw great change occur on a global scale in response to controversial social, political and
environmental issues. A surge in youth culture – those of the "baby boom" post WWII – brought
about newfound enthusiasm to address these issues, with many young people forming protest groups
and embracing artistic outlets. The division between high and low art was being torn apart by artists
who sought different ways to address urgent issues. This desire for immediacy particularly
manifested itself outside of the gallery space with an explosion of street performances and the
emergence of "happenings", as well as psychedelic art, music and revolutionary posters. All were
created with the intent of conveying messages to the masses. Developing ... Show more content on
Helpwriting.net ...
Ono came from a musical background, her father ensuring her musical education was received
through rigorous piano and singing training, and her relationship with John Lennon brought her to
the attention of mainstream culture. In 1969 Lennon and Ono used their honeymoon as a protest
against the Vietnam War with Bed– Ins for Peace, inviting the media to visit them in a hotel room
for several days running where they talked about peace for twelve hours a day. However, by this
time Ono had already emerged as a distinct female voice within the New York art scene. In her work
Cut Piece (1964), Ono presented herself on a stage wearing her best clothes and holding a pair of
scissors. She invited the audience to use the scissors to cut off pieces of her clothing as she remained
stone–faced and motionless. Ono performed Cut Piece in a number of venues at different locations
including Tokyo, London, New York and Kyoto with each performance eliciting a different reaction
from both audience and artist. Cut Piece refers to women's vulnerability and to the threat of invasion
or violation. However Ono also explained in Grapefruit (1964), a compendium of her event scores
and instruction works that 'although the work is usually performed by Ono, it may be performed by
another person and that person does not have to be a woman'. Despite the fact that the struggles
represented throughout her works are not limited to women, for Ono, art does occupy a feminine
realm: 'Making art is a feminine activity in the world as compared to other activities. When I say
that art is a feminine activity I don't necessarily mean that it is an activity for women, I'm talking
about the feminine quality in us, which could be seen in

Sublime : Contemporary Works From The Collection
Art Republic Sublime: Contemporary works from the Collection "An artwork is said to be Sublime
if it has an awe–inspiring quality." (M Slater, 29th September 2014) The Sublime: Contemporary
works from the collection exhibition at the Gallery of Modern Art evokes an intense emotional
response from the viewer. Ellie Buttrose (Associate curator of International Contemporary Art)
described the exhibition as "a presentation of the various ways that artists engage with the Sublime
in contemporary art". (E Buttrose, n.d.) The exhibition overwhelms the viewer's senses; they begin
to marvel in the enormity and grandeur of the culturally diverse artworks. This vast range displayed
throughout the exhibition, according to the Head of ... Show more content on Helpwriting.net ...
(Need to describe what this means and how it shows the demographic???) The exhibition provides a
variety of sculptures along with paintings by a variety of artists which widens the audience as the
exhibition isn't subjected to one particular style. The boundlessness and overwhelming quality that is
the Sublime is represented throughout each artwork and provides the cohesion of the exhibition.
However, each artwork represents different themes and concepts related to the specific cultural
background that the artist has come from or is representing. Xu Bing's engaging artwork; 'A book
from the Sky' constructed on woodblock print represents the The grandeur in contrast to the detailed
characters inscribed on each sheet within the artwork is a powerful statement that draws in the
viewer and invites questions and clarification as to the significance. The thousands of characters
which have been meticulously inscribed onto each sheet represent the ever imminent power of
printed texts which have the ability and influence to not only manipulate but also construct societal
views. In the current age of digital media text and touchscreen prints, the scale and precision of the
handcrafted scribe is both beautiful and testament to cartographic skills long since used and a
reminder that the craft is diminishing. Also displayed throughout the exhibition is world renowned
English artist, Anish Kapoor's, Void. Void, which was constructed out of fibreglass and pigment in

Process Essay – How to Name a Cow
Process Essay – How to Name a Cow
Naming your cow may not be an easy task. While some claim to be well versed in bovine
nomenclature, many first–time cow owners are not. It may be true that cattle should not be named
because a growing attachment to your cow may hinder economic gain–if you plan to eat your cow,
don't name it.
Most cow lovers need not worry about any of this. Their cows have become welcome household
pets. They have put down their steak knives and decided to dine with them, not on them. Such docile
animals have now become a part of the family, and owning but a few cows has eased the problem of
naming a vast herd of cattle.
I once knew a family in Loma Rica that tried to name all their ... Show more content on
Helpwriting.net ...
Traditional names are simple. So if you own a traditional cow, name her Bossy, or Bessy, or Daisy,
or Lulu, or Buttercup, or Bertha, or Bubba, or Beauregard. Also keep in mind that traditional names
vary geographically. For instance, I found that Brunhilde, Lore, Lotte, Rosa, Thilde, and Lisa are
commonly given to cows in Germany. Other common European names include Peppo, Maxi, Moriz,
and Marla. (A foreign name will add spice to any pasteurized cow.)
Another easy approach to cow christening is naming your creature after a famous or inspiring figure.
Music, sports, or movie stars are a great source. Classic examples are Elvis, Jordan, and Winona. Or
how about celebrities Aristotle, Einstein, or Thurgood Marshall? If you have several cows, name
them after the characters of the infamous O. J. trial: Shapiro, Ito, Cochran, Kato. "This is my cow,
Juror #12." What better way to keep tradition alive?
From flowers bloom excellent cow names: Rose, Violet, Dahlia, Marigold, etc. However, it is wise
to avoid cruel names. Don't breed animosity by naming your animal Big Mac, Milk Shake, Sir
Loyn, or Rump Roast.
Parents sometimes select an ample supply of potential names for their offspring, and more names
are introduced by friends and relatives. What better use of this surplus than towards your cow? In
fact, this is just one reason so many people are investing in cows–cows are an outlet for the names

Marina Abramovic's Essay: Art Must Be Beautiful
When I first began my research into Marina Abramovic, I was shocked yet interested. Her work,
"Art must be beautiful, Artist must be beautiful" (1975) perplexed me. When I looked at the image
from that piece, the title struck me as ironic; especially after watching a video of her speaking about
her early works that I found on www.mai–hudson.org/about–mai. In the piece she is brushing her
hair with a brush in one hand and a comb in the other, while repeating "Art must be beautiful, Artist
must beautiful".
It instantly reminded me of my great–grandmother telling me that if I brushed one hundred strokes
in my hair a day that it would be beautiful, soft, and shiny. When I first saw the photograph from
"Art must be beautiful, Artists must be beautiful", ... Show more content on Helpwriting.net ...
Which speaks to her background and parents who were supporters of Yugoslavia's Communist
regime (Appleyard). However, over the years one could say that her goal and wishes for her
performances have slightly changed. In an interview with Emma Brockes, Abramovic stated the
following about her goal for "The Artist is Present" (2010): "My whole idea was to give out love to
every stranger, which I did." With each passing performance, Abramovic's art seems to be more
about the energy and experience between herself and the public. "Abramovic has concluded that in
the 21st century, art will not be made out of objects, but out of energy" (Appleyard). In my personal
opinion, in a time where the entire world seems to be moving at a ridiculously fast pace, perhaps
Abramovic's ethereal notions are just what we

New Ideas Of Art : Warhol, Yoko Ono, And Marina Abramovic
During the 1960s, new ideas in art began to emerge. The art world was introducing new various
types of art including, performance art, photography, videography, installation and conceptual ideas.
This era of art also pushed the boundaries between the traditional disciplines of art. Three artist that
have had a huge impact on art in the time period are, Andy Warhol, Yoko Ono, and Marina
Abramovic. Each of these artists embraced the new types of art in several ways. Andy Warhol is an
American artist from Pittsburgh Pennsylvania whose work was essential to this era of art. Warhol
had a career as a magazine ad illustrator which eventually led him to other disciplines of art such as
painting. Warhol is an essential artist in early performance and conceptual art because his artwork
created the concept of Pop Art. His early work focuses around commercialized products such as
soup cans and coke bottles. Warhol's art is different from previous artists because his works have the
ability to be mass produced, which is a new element within art at this time. His most famous piece
is, "Campbell's Soup Cans" which is made from Synthetic Polymer and paint on canvas. This piece
displays numerous, painted Campbell's Soup cans side by side in a repeating pattern. I personally
love the work of Andy Warhol. I particularly like his use of color and unity in each composition. In
addition, I like Warhol because he strays away from tradition art. To this day, Warhol 's approaches
to art making are

Relational Aesthetics : Relational And The Historical...
Known by some as "the most influential stylistic strain to emerge in art since the early seventies"
(Salts, 2008), Relational Aesthetics, constructed by Nicolas Bourriaud in 1998, was a response to
artists' desire to rectify declining social bonds and a rejection of exhibition conventions prominent in
the 1980s. This essay will explore why Relational Aesthetics was created, what types of works are
considered 'relational' and the historical context surrounding the theory. Examples of 'relational' art,
with an emphasis on the work of Rirkrit Tiravanija, will be examined in context of Bourriaud's
theory in order to compare criticisms of the theory of Relational Aesthetics. These criticisms
include: what establishes a work of art as ... Show more content on Helpwriting.net ...
Due to use of the viewer as part of the artwork, boundaries between art and life become blurred,
leaving works to appear unfinished (Dohmen, 2013). To some, 'relational' art allowed the audience
to regain awareness of their surroundings and of one another, something that had deteriorated in the
late 20th century (Smith, 2008, p.c23). Bourriaud coined the term 'relational aesthetics' in the
catalogue of his 1996 exhibition Traffic, featuring Liam Gillick, Rirkrit Tiravanija, Dominique
Gonzalez–Foerster, Phillipe Paranno and Carsten Höller, among others. These artists worked within
a "sphere of 'inter–human relations'" (Baker, 2004, p.50), and works often appeared to meld into one
another, as if created by a singular artist. Artists would play with museum conventions, using the
exhibition as a medium, conducting experiments such as exhibiting off–site works and changing the
exhibition throughout its duration (Bishop, 2012, p.207). This kind of work has been regarded as
nothing new, drawing comparisons to the Fluxus group and other artists in the 1960s. Although,
what may defend its significance, according to Bishop (2004), is the shift away from food as form
and towards using food as stimuli for audience involvement and interaction. Bourriaud considers
these participatory models as a

An Overview of Postmodernism Essay
The political climate at the beginning of the 1940's and the changes taking place all around the
world drastically influenced the face of contemporary society. The invasion of Poland by Germany
on 1st of September 1939 was the first stone thrown in the face of freedom of expression and liberty
out of the many that followed for the next decades. The dawn of the Second World War was one of
the premises that forced many European artists, pioneers par excellence in their field, through their
French or German inherited status, to immigrate across the ocean. Due to the exile, the art centre
also moved overseas, from Paris to New York, offering a new opportunity for American art to be the
initiator in what was generally accepted as the new ... Show more content on Helpwriting.net ...
This description is trying to clearly position postmodernism in a specific time frame and outline its
main characteristics. However, when consulting the Macmillan Dictionary (2010) the description
offered is significantly less conclusive:
"ideas, attitudes, or styles of art, literature, or thinking that have developed after modernism, often
as a reaction against "
The main accent is set on the chronological aspect of postmodernism and its logical and historical
flow offering the reader not enough information to identify a clear period or any particular feature.
Only by comparing the two definitions, a very small part of the available explanations on the
subject, and at the same time reading them together one can identify one of the main components of
the movement: diversity in all its aspects. The difference in these definitions is not just a simple
coincidence and should be taken as a figure of speech for the description of the entire period. During
this time critics and writers, artists and architects etc. have tried to find a proper explanation for the
changes they were being part of, concretised in what became known as Postmodernism.
During the 1960s 'attacks' started appearing against the elitism shown by modernism. One of the
first voices pointing at modernism's faults was the poet Karl Shapiro , who in 1959 in an article for
The Times Book

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