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Education Technology

The Pun

Pun ,[object Object],[object Object],[object Object]

The pun as a social signifier ,[object Object],[object Object],[object Object],[object Object]

A Culture of Signs ,[object Object],[object Object],[object Object]

Picasso’s and Braque’s collages from this time incorporate elements which are the antithesis of autonomous or ‘pure’ art: newspaper cuttings on contemporary socio-political events, romantic fiction, scientific innovations, and all sorts of advertisements

Pablo Picasso, Bottle, Wineglass, and Newspaper on a Table Georges Braque , Composition with Ace of Clubs

In Conclusion… ,[object Object],[object Object]

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Sample of Assignment Les Demoiselles d'Avignon by Pablo Picasso has been called one of the most important works in the genesis of modern art by The Museum of Modern Art in a 2004 publication1 and the most influential work of art of the last 100 years in a 2007 article in Newsweek.2 Picasso created the work in 1907, the modern era. Determining the proper culture is difficult. He is considered a Spanish painter. There are clear Iberian and African influences presented in the painting. He painted it in Paris. The title references a brothel in Barcelona, Spain. So, for the most consistent classification, Spanish culture seems to be the most fitting. That said, this work is less about the cultural ties to that place, and more about someone reaching for a new direction in art. The social/psychological reference within the work has been interpreted by William Rubin in his book dedicated to the work as reflecting his deep-seated fear and loathing of the female body, which existed side by side with his craving for and ecstatic idealization of it.3 If this is true, then the way the figures are distorted would certainly support that idea. However, for two reasons this work is more than just a social comment from Picasso or a psychological manifestation of his attitude toward women and more one of development of a personal, and possibly intentional new style of presenting subject matter. The early rivalry between Matisse and Picasso is well documented. It has been suggested that Matisse's Bonheur de vivre (The Joy of Life) became a challenge for Picasso's creation of Les Damoiselles d'Avignon.4 The two seemed to be competing for who would be the leader in the pursuit of Modern Art. If this work were the last one by Picasso, it may not have had the lasting impact on the world of art that it enjoys. But in his subsequent work, and others, the fragmentation and representation of subject matter in planes that defy nature began with this work. It is a new aesthetic approach that forced the viewer at that time to reconsider many aspects of what art is and how space can be redefined. On one hand the subject matter could be viewed as a personal comment on brothels in general, but because it is clear that Picasso was in search for a new direction in modern art, it is clear that his main purpose was to influence the world of art with this new way of presenting subject matter. 1 Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 64 2 http://www.newsweek.com/which-most-influential-work-art-last-100-years-102269 3 LES DEMOISELLES D'AVIGNON By William Rubin, Helene Seckel and Judith Cousins. Illustrated. 280 pp. New York: The Museum of Modern Art/ Harry N. Abrams. 4 https://news.masterworksfineart.com/2017/06/12/henri-matisse-and-pablo-picasso Culture directions Before attempting this assignment make sure that you completed both the introduction and culture lessons.

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Alqurashi 2 Name: Muath Alqurashi Professor: Gurley Course: 1008 Date: October 14th, 2016 Picasso's Blue Period Have you heard of Picasso's blue period? Picasso was an influential artist in the 20th century. He was a painter, who become famous in his blue period, moved from Barcelona home to Europe. He was 19 to 23 when he began his blue period. These paintings were mostly done in ''blue'', and was expressed his "new self". These paintings also represented Picasso's feeling of sadness and homesick. "The Blue Period Paintings are now recognized as an important phase in the evolution of Picasso's art"(Bulm 267). Blum emphasized Picasso's early life career when he started painting in France, early work, and "the old Guitarist", which is Known as the blue period. According to the (Blum 268) Picasso start to draw in early age of two. Picasso family thought that he could draw like Raphael. The writers say Picasso was inflicted by his sister Lola motivated him started to create drawings such as those animals like a donkey or a dog began in any part of their body such as drawing their ears or tail or paw. Picasso moved between his home town Barcelona to Paris around four times at the ages of 19 and 23 and permanently setting in Paris April 1904. Work Cited Blum, Harold. "Picasso's Prolonged Adolescence, Blue Period, and Blind Figures." Psychoanalytic Review (2013): 267-286. Web. 30 Sep.2016. Blum, H. (2013). Picasso's prolonged adolescence, blue Period, and blind figures. Psychoanalytic Review, 100(2), 267-286. Retrieved from MTSU database. Context: Pablo Picasso’s (19-23) painting style during the Blue Period (Paris, France). Question(s): What do the “blues” represent in Picasso’s Blue Period? What does this color say about Picasso? Purpose: ~Inform reader about Picasso’s Blue Period. ~Discuss/ interpret the meaning of the “blue” paint theme throughout the period (your point of view). ~You need to show evidence that supports your interpretation of the “blue color” in the paintings. Evidence = Quotes / Paraphrasing / Examples Outlining Guide: Picasso and the Blue Period I. Introductory Paragraph a. Hook b. General/ Background Info c. Define Main Idea d. Specific Info w/ Quote e. Thesis Statement (Report Style) II. Body 1: Picasso’s Early Years a. Topic Sentence b. Explain Main Point c. Quote w/ Parenthetical Citation d. Comment on “Keywords” e. Author’s Suggestion or Emphasis f. Example(s) (if it adds to explanation) or Paraphrase g. Your interpretation based on relevant information… Picasso’s New Identity / Environment / Emotions III. Body 2: Picasso’s Early Work (Blue Period) a. Topic Sentence b. Explain Main Point c. Quote w/ Parenthetical Citation d. Keywords e. Author’s Point / Emphasis f. Example or Paraphrase g. Interpretation of Picasso’s Influences / Style / Emotions IV. Body 3: “The Old Guitarist” a. Topic Sentence b. Describe the painting. c. Quote d. Keywords e. Explain significance of BLU.

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Avant-Garde and Kitsch One and the same civilization produces simultaneously two such different things as a poem by T. S. Eliot and a Tin Pan Alley song, or a painting by Braque and a Saturday Eve- ning Post cover. All four are on the order of culture, and ostensibly, parts of the same culture and products of the same society. Here, however, their connection seems to end. A poem by Eliot and a poem by Eddie Guest-what perspective of culture is large enough to enable us to situate them in an enlightening relation to each other? Does the fact that a disparity such as this exists within the frame of a single cultural tradition, which is and has been taken for granted-does this fact indicate that the disparity is a part of the natural order of things? Or is it something entirely new, and particular to our age? The answer involves more than an investigation in aesthe- tics. It appears to me that it is necessary to examine more closely and with more originality than hitherto the relationship between aesthetic experience as met by the specific-not the generalized-individual, and the social and historical contexts in which that experience takes place. What is brought to light will answer, in addition to the question posed above, other and perhaps more important questions. I A society, as it becomes less and less able, in the course of its development, to justify the inevitability of its particular forms, breaks up the accepted notions upon which artists and 3 writers must depend in large part for communication with their audiences. It becomes difficult to assume anything. All the verities involved by religion, authority, tradition, style, are thrown into question, and the writer or artist is no longer able to estimate the response of his audience to the symbols and references with which he works. In the past such a state of affairs has usually resolved itself into a motionless Alexandrian- ism, an academicism in which the really important issues are left untouched because they involve controversy, and in which creative activity dwindles to virtuosity in the small details of form., all larger questions being decided by the precedent of the old masters. The same themes are mechanically varied in a hundred different works, and yet nothing new is produced: Statius, mandarin verse, Roman sculpture, Beaux-Arts painting, nco-republican architecture. It is among the hopeful signs in the midst of the decay of our present society that we-some of us-have been unwill- ing to accept this last phase for our own culture. In seeking to go beyond Alexandrianism, a part of Western bourgeois society has produced something unheard of heretofore:-avant- garde culture. A superior consciousness of history-more pre- cisely, the appearance of a new kind of criticism of society, an historical criticism-made this possible. This criticism bas not confronted our present society with timeless utopias, but bas soberly examined.

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