Мы, молодежный проект dance4life, умеем и любим проводить масштабные акции по теме здоровья! :-)
Поэтому мы хотим поделиться опытом и рассказать об основных этапах подготовки мероприятий, которые сами проходим, создавая наши акции.
dance4life - это международное молодежное движение, защищающее право молодых на полную, достоверную, доступную информацию по сохранению репродуктивного здоровья.
dance4life считает, что без участия молодежи невозможно остановить такие серьезные угрозы, как эпидемии ВИЧ-инфекции, туберкулеза, наркомании.
Мы, команда dance4life, знаем, что молодежная культура, включающая в себя танцы, музыку, общение в социальных сетях, вечеринки и т.д. - может быть каналом распространения достоверной, правдивой информации, в которой нуждается молодежь.
Fashion and creativity are two important aspects of life that can help us to enjoy it to the fullest. With fashion, we can express our individual style and show off our personality. Creativity allows us to explore new ideas and find creative solutions to everyday problems. Together, fashion and creativity can bring a sense of joy and fulfillment to our lives.
My Passion For Art Essay
Art And Art
Essay On Why I Love Art
Informative Speech Importance of Art Essay
Art Analysis Essay
African Art Essay
art assignment Essay examples
My Reflection Of Art
Example Art Gallery Report Essay
Reflective Essay On Art
Art as Communication Essay example
What Is Art? Essay example
The Importance of Art Essay
The Importance of Art Essay
My Personal Experience Through Art
Art Comparison
Art and Aesthetics Essay example
Art Is An Imagination Of Art
Reflection About Art
Sweeping Exchanges The Contribution of Feminism to the Art of.docxmattinsonjanel
Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s
Author(s): Lucy R. Lippard
Source: Art Journal, Vol. 40, No. 1/2, Modernism, Revisionism, Plurism, and Post-Modernism
(Autumn - Winter, 1980), pp. 362-365
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/776601 .
Accessed: 19/08/2013 00:12
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal.
http://www.jstor.org
This content downloaded from 131.238.16.30 on Mon, 19 Aug 2013 00:12:31 AM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=caa
http://www.jstor.org/stable/776601?origin=JSTOR-pdf
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Sweeping Exchanges:
The Contribution of Feminism
to the Art of the 1970s
Lucy R. Lippard
Lucy R. Lippard is an art critic
and a member of the collective that
publishes Heresies, afeminist
periodical on politics and the arts.
By now most people-not just feminist
people-will acknowledge that feminism
has made a contribution to the avant-
garde and/or modernist arts of the 1970s.1
What exactly that contribution is and how
important it has been is not so easily
established. This is a difficult subject for
a feminist to tackle because it seems
unavoidably entangled in the art world's
linear I-did-it-firstism, which radical fem-
inists have rejected (not to mention our
own, necessarily biased inside view). If
one says-and one can-that around
1970 women artists introduced an ele-
ment of real emotion and autobiographi-
cal content to performance, body art,
video, and artists' books; or that they
have brought over into high art the use of
"low" traditional art forms such as em-
broidery, sewing, and china painting; or
that they have changed the face of central
imagery and pattern painting, of layering,
fragmentation, and collage-someone
will inevitably and perhaps justifiably
holler the names of various male artists.
But these are simply surface phenomena.
Feminism's major contribution has been
too complex, subversive, and fundamen-
tally political to lend itself to such inter-
necine, hand-to-hand stylistic combat. I
am, therefore, not going to mention names,
but shall try instead to make my claims
sweeping enough to clear the decks.
Feminism's greatest contribution to the
future of art has probably ...
JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docxcroysierkathey
JUST NEED (4) REPLIES TO THE OTHER STUDENTS
2-3 Sentences Replay
·
· Week Four Discussion 1
Compare the work of two artists from any two different art movements covered in Chapter 21.
· Describe, then compare, the contexts, concerns and main aspects of each movement and how those appear in the artworks you've selected.
· Be sure to explain why you made your particular choices of movements, artists and artworks.
· Evaluate the artwork you've selected according to any criteria you think are relevant (given what you have learned so far in the course).
Be sure that you are making an evaluative comparison of the two artists’ work, rather than simply discussing them in turn.
REPLY TO:Permenter
Week 4, Discussion 1
COLLAPSE
Top of Form
Romanticism and Impressionism vary greatly in their style. Romanticism was in favor for a much longer period of time, roughly 1800-1890, than Impressionism (1870-1880). Romanticism was more an attitude and choice of subjects than a true style. The artists of this period looked for emotions and imagination when deciding what they wanted to create. They looked for the risqué and exotic as well as mystery. Impressionist artists had some more flexibility with the new availability of equipment that was more portable. This allowed Impressionists to work in the actual outdoors as opposed to studios. These artists used natural light, shadows and a lighter color palette to express their ideas.
The pieces for this discussion were chosen due to the similar subject of the works yet stark contrast. Both pieces feature a group of people enjoying a leisurely activity, yet they are not alike at all. The way they contrast and show their specific movements is remarkably interesting. First, the Romanticism piece chosen is The Women of Algiers by Delacroix (p.485, fig. 21.2). This piece is very risqué, and the subject of the piece is quite scandalous. The women portrayed are women in a harem and it was unusual for outsiders to be allowed in, let alone document it such as this. Delacroix demonstrates this period by the subject of the piece being so exotic and mysterious. He does a great job showing unity yet variety here as well. The painting feels very dark and colors of the piece are mostly neutral and really work well together, with a kick of reddish orange here and there to brighten up the piece.
The Impressionist piece Le Moulin de la Galette (p.490, fig. 21.7) by Renoir is a stark contrast to The Women of Algiers . This piece, while detailed enough for one to see the subjects and understand the context of the painting, is not focused on the clear lines and defined objects as The Women of Algiers is. Renoir uses a freer stroke and uses emphasis and subordination. The emphasis of the painting is on the small group in the front of the painting as the rest get blurrier the farther away they are. This painting is so much brighter with a lighter palette than the other clearly showing that it is from a different mov ...
Мы, молодежный проект dance4life, умеем и любим проводить масштабные акции по теме здоровья! :-)
Поэтому мы хотим поделиться опытом и рассказать об основных этапах подготовки мероприятий, которые сами проходим, создавая наши акции.
dance4life - это международное молодежное движение, защищающее право молодых на полную, достоверную, доступную информацию по сохранению репродуктивного здоровья.
dance4life считает, что без участия молодежи невозможно остановить такие серьезные угрозы, как эпидемии ВИЧ-инфекции, туберкулеза, наркомании.
Мы, команда dance4life, знаем, что молодежная культура, включающая в себя танцы, музыку, общение в социальных сетях, вечеринки и т.д. - может быть каналом распространения достоверной, правдивой информации, в которой нуждается молодежь.
Fashion and creativity are two important aspects of life that can help us to enjoy it to the fullest. With fashion, we can express our individual style and show off our personality. Creativity allows us to explore new ideas and find creative solutions to everyday problems. Together, fashion and creativity can bring a sense of joy and fulfillment to our lives.
My Passion For Art Essay
Art And Art
Essay On Why I Love Art
Informative Speech Importance of Art Essay
Art Analysis Essay
African Art Essay
art assignment Essay examples
My Reflection Of Art
Example Art Gallery Report Essay
Reflective Essay On Art
Art as Communication Essay example
What Is Art? Essay example
The Importance of Art Essay
The Importance of Art Essay
My Personal Experience Through Art
Art Comparison
Art and Aesthetics Essay example
Art Is An Imagination Of Art
Reflection About Art
Sweeping Exchanges The Contribution of Feminism to the Art of.docxmattinsonjanel
Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s
Author(s): Lucy R. Lippard
Source: Art Journal, Vol. 40, No. 1/2, Modernism, Revisionism, Plurism, and Post-Modernism
(Autumn - Winter, 1980), pp. 362-365
Published by: College Art Association
Stable URL: http://www.jstor.org/stable/776601 .
Accessed: 19/08/2013 00:12
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal.
http://www.jstor.org
This content downloaded from 131.238.16.30 on Mon, 19 Aug 2013 00:12:31 AM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=caa
http://www.jstor.org/stable/776601?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
Sweeping Exchanges:
The Contribution of Feminism
to the Art of the 1970s
Lucy R. Lippard
Lucy R. Lippard is an art critic
and a member of the collective that
publishes Heresies, afeminist
periodical on politics and the arts.
By now most people-not just feminist
people-will acknowledge that feminism
has made a contribution to the avant-
garde and/or modernist arts of the 1970s.1
What exactly that contribution is and how
important it has been is not so easily
established. This is a difficult subject for
a feminist to tackle because it seems
unavoidably entangled in the art world's
linear I-did-it-firstism, which radical fem-
inists have rejected (not to mention our
own, necessarily biased inside view). If
one says-and one can-that around
1970 women artists introduced an ele-
ment of real emotion and autobiographi-
cal content to performance, body art,
video, and artists' books; or that they
have brought over into high art the use of
"low" traditional art forms such as em-
broidery, sewing, and china painting; or
that they have changed the face of central
imagery and pattern painting, of layering,
fragmentation, and collage-someone
will inevitably and perhaps justifiably
holler the names of various male artists.
But these are simply surface phenomena.
Feminism's major contribution has been
too complex, subversive, and fundamen-
tally political to lend itself to such inter-
necine, hand-to-hand stylistic combat. I
am, therefore, not going to mention names,
but shall try instead to make my claims
sweeping enough to clear the decks.
Feminism's greatest contribution to the
future of art has probably ...
JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docxcroysierkathey
JUST NEED (4) REPLIES TO THE OTHER STUDENTS
2-3 Sentences Replay
·
· Week Four Discussion 1
Compare the work of two artists from any two different art movements covered in Chapter 21.
· Describe, then compare, the contexts, concerns and main aspects of each movement and how those appear in the artworks you've selected.
· Be sure to explain why you made your particular choices of movements, artists and artworks.
· Evaluate the artwork you've selected according to any criteria you think are relevant (given what you have learned so far in the course).
Be sure that you are making an evaluative comparison of the two artists’ work, rather than simply discussing them in turn.
REPLY TO:Permenter
Week 4, Discussion 1
COLLAPSE
Top of Form
Romanticism and Impressionism vary greatly in their style. Romanticism was in favor for a much longer period of time, roughly 1800-1890, than Impressionism (1870-1880). Romanticism was more an attitude and choice of subjects than a true style. The artists of this period looked for emotions and imagination when deciding what they wanted to create. They looked for the risqué and exotic as well as mystery. Impressionist artists had some more flexibility with the new availability of equipment that was more portable. This allowed Impressionists to work in the actual outdoors as opposed to studios. These artists used natural light, shadows and a lighter color palette to express their ideas.
The pieces for this discussion were chosen due to the similar subject of the works yet stark contrast. Both pieces feature a group of people enjoying a leisurely activity, yet they are not alike at all. The way they contrast and show their specific movements is remarkably interesting. First, the Romanticism piece chosen is The Women of Algiers by Delacroix (p.485, fig. 21.2). This piece is very risqué, and the subject of the piece is quite scandalous. The women portrayed are women in a harem and it was unusual for outsiders to be allowed in, let alone document it such as this. Delacroix demonstrates this period by the subject of the piece being so exotic and mysterious. He does a great job showing unity yet variety here as well. The painting feels very dark and colors of the piece are mostly neutral and really work well together, with a kick of reddish orange here and there to brighten up the piece.
The Impressionist piece Le Moulin de la Galette (p.490, fig. 21.7) by Renoir is a stark contrast to The Women of Algiers . This piece, while detailed enough for one to see the subjects and understand the context of the painting, is not focused on the clear lines and defined objects as The Women of Algiers is. Renoir uses a freer stroke and uses emphasis and subordination. The emphasis of the painting is on the small group in the front of the painting as the rest get blurrier the farther away they are. This painting is so much brighter with a lighter palette than the other clearly showing that it is from a different mov ...
2. WHIPLASH
Whiplash is a women haute couture collection of evening gowns, that is in-
spired by the period of the last years before the 1.st world war; the French and
Belgian Art Nouveau, English Aesthetic movement, that was droven by
Industrial revolution, Freud`s Psychoanalysis, decadence,... and for the first
time, art wasn`t directed by religion anymore.It is a period, that has a strong
impact on my crative process. With it`s refined and perfective style with prevail-
ing ornament, there is always something new, not seen before, though the style
was spread all over the world and existed in number of varietes.
Mucha, Guimard, Horta, Beardsley, Liberty, Tiffany and The Aesthetic movement
with his main representative Oscar Wilde drove the line of the collection to a
tiny details. It was the `whiplash`, typical curved line, that was transformed
into number of shapes, first in 2D on the paper and then in 3D on the body. The
relation between plane 2D shape, illustration and 3D, the body, that is repre-
sented in space, was the red line of the creative process. How to transform an
illustration, drawn with a pencil on a paper into materials, details, forms in
space? How do I see the specific pencil line in shape, materials, fabrics? The
materials are strongly natural, mainly silk, with the adds of seacell, tencell and
banana fibers. Colors are dull and soft, varying from very bright to dark, but
never totally black, just like the colour pallete of Mucha`s paintings and prints.
The collection consist of 9 evening dresses and each of it has at least one de-
tail, that is hand made. Four dresses were realised for the use ob my Bachelor
degree.
4. 3 WOODEN
BUTTONS
BACK ON
THE NECK
YARN SHEAVES
ON THE LINE
CROSSINGS
*
LINES, DEFINED
WITH
RELIEF
POROUS
CROCHET
SILK YARN
YARN COLOR
Transmission of the illustration on the body and formation of the dress
11. MEES
Collection MEES ( = Memories of Ending Endless Story) is a collection of jump-
ers that was inspired by dreams, memories and personal identity. It came into
existance under the influence of my last years on university. U used parts of my
school collections and projects, that made the biggest imact on me and they
all have one common point, that is, playing and experimenting with patterns.
Acctually, modelation and patterns are my strongest adut through all my col-
lections. Accordingly I used dull colors and soft and transparent materials, just
like dreams or memories, that are never clear, even though they can be quite
strong.
Collection consist of jumpers with the touch of Art Decco, made of soft cotton,
silk and viscose jersey and 2 transparent silk dresses, that are supplemented
with pants and bodys from cotton satio in everlasting color of champagne.
MEES is elegant and timeless collection, that highlights evelasting female ele-
gance and allure.
12.
13.
14.
15. UNSUITABLE
Unsuitable is a project from my last years on university, influenced by
questions about society, civilization and historic moments. Aren`t the time and
the historic moment those two elements, who define us who we are, how do
we behave, how do we dress…? Aren`t we all manipulated by the time and
system we are living in after all?
From the history of mankind, we can see, that, in different time periods and
under different regimes, people had different values and moral norms. Isn`t
in a way the matter of fashion to manipulate masses as well, so people could
felt as part of a group? Are trends really connected to specific historic mo-
ments, or is that just our illusion?
A good example, that got me into thinking, is movie, Czech dreams. It is a
parody about capitalism, talking about crowds of people, who flock towards
imaginary shopping center. Another case that touched me, is Markis de
Saad`s work Incest. He speaks about the impact of family members and the
surroundings on the development of human personality.
Where to draw the line, what is the border between a handful of individuals
influencing masses and society, influencing individuals?!?!? The system as such
(political, economic, etc.) has the power to affect person`s perception of the
world, sometimes even distorted. And on the other hand, there is society, the
crowds, who are guiding individual`s thinking and behavior.
I was playing with the idea of manipulation of shapes and materials in the
following collection. How could one material define the shape of other? I real-
ized that with heavy, strong and solid leather shapes, that can either function
independently and deforms women body, either giving shape to soft, trans-
parent and light silk muslin. Colors vary from white to dark brown in sepia
spectrum, like old pictures, who are telling us stories about the past.
16.
17.
18.
19. ATELIER INDEVIN
Atelier Indevin is a project of 6 young fashion designers, who decided to join
their forces in a form of NGO. The guiding principle of the project was to
spread awareness about sustainable art, especially in the field of fashion.
Main activities of the institute were recycled and upcycled clothing and acces-
sories, workshops, lectures on the topic of responsible art and fashion and col-
laborations with other artists and organizations.
Association for design and other arts