Edgar Degas (1834-1917)

In seeing these pieces one should try to understand the struggle that the working people of other ethnicities go through to just try to survive the cruel world that runs on what some see as  

“The american dream”, which many of the people strive towards but may never reach it . Not everyone that will see these pieces will understand the problems of the working class mostly because they are not part of the working class; they don't struggle with the obstacles that one might such as the woman in, “Look at my World,” or in, “Acumen,” them being part of the ethnicity that needs to try ten times harder than any other to simply have their work accepted and appreciated.

  The pieces “On the Grind”, “Nostalgia”, and “The Sound of Music” are representations of our personal experiences in our lives. These experiences may have been challenges in our lives that present us arduously, but more specifically these pieces show the worlds we immersed ourselves in to get through the challenges. The varying media of brittle graphite of pencil to the changing flow of paint renders these experiences.

The artworks had different artists for different inspirations but all of these pieces used the inspiration to show the worlds that we immerse ourselves into. In “Nostalgia” the inspiration was to capture a feeling that all individuals can relate to. “The Sound of Music” the bright colors with thick textures illustrate feelings and emotions to all audiences without being political. In “On the Grind” the snapshot of the moment captures the subject in the purest moment of the action.

Conclusion,  the exhibition text meticulously describes the common theme between the arranged artworks. The artworks assert  disparate meanings to all audiences and have different methods that are quintessential to their  individual style. The different  techniques of these art works such as proportional figures, movement, and emphasis in a moment bring harmony to this collection because they all share commonalities.

Date: 1900-2010

Materials: embroidery on silk shantung stretched over linen with crystals

Dimensions: 155in x 90.2in

Location: Galerie Lelong, New York, NY

Kay WalkingStick

2004

Oil and gold leaf on wood 

The metropolitan museum of art, New York, NY 

The last thing we do

Digital

Born December 23, 1980. Ryohei Hase is an artist previously featured on EK. Hase is based out of Tokyo, Japan. Ryohei illustrates for CDs, web, magazines, games, movies and fashion photographs. Hase creates large-scale triptych paintings that expresses dark thoughts. He leads us into a world populated with fascinating and frightening hybrid creatures, exploring all the bestiality of the human soul; express the darkness of the mind. 

“My theme of paintings is to express the darkness of mind which is sad and gloomy but at the same time, it’s beautiful and strong.”

International trade issues arising between Japan and the U.S. and images of Americans destroying Japanese products.  

There has always been an element of authoritarianism in how school treats students in Japan, especially in middle and high schools, though not so much in elementary school. It has been said the 1980s was a decade when schools took stronger, more stringent stances toward delinquency and what they perceived as deviance. 

Lucy Flint

ARTIST

Jean Metzinger

b. 1883, Nantes, France; d. 1956, Paris

TITLE

At the Cycle-Race Track

DATE

1912

MEDIUM

Oil and collage on canvas

DIMENSIONS

51 3/8 x 38 1/4 inches (130.4 x 97.1 cm)

CREDIT LINE

The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 1976

ACCESSION

76.2553.18

COPYRIGHT

© 2018 Artists Rights Society (ARS), New York/ADAGP, Paris

In 1912 Charles Crupelandt became the subject of a painting by the Cubist artist and theorist Jean Metzinger. Au Vélodrome, also known as At the Cycle-Race Track and Le cycliste, illustrates the final meters of the Paris–Roubaix race and portrays its 1912 winner.[1] Metzinger’s painting was the first in Modernist art to represent a specific sporting event and its champion.[1] He incorporated into the painting his concepts of multiple perspective, simultaneity, and time, according to his belief that the fourth dimension was crucial to the new art that could compete with the classical French tradition.[1] The painting was acquired by Peggy Guggenheim in 1945 and is now permanently on view in the Peggy Guggenheim Collection museum in Venice.[2]

Media: They are typically made from six to eight planks of wawa, a light, white wood that is easy to work with. Hammers, saws, planes, chisels, razorblades, and sandpaper are used.  

Artist: Paa Joe, Kane Kwei’s nephew, was born in 1945. He spent his youth with his father in a farming colony in the hills northeast of Accra. At the age of fifteen he moved to Teshi to live with his mother. She helped place him in Kane Kwei’s workshop where he trained.

Art Piece: The Mercedes Benz sedan coffin is an almost cartoonish representation, though it incorporates enough detail to make it immediately identifiable as to make and model. Carved of wood, the coffin is painted white, with black details such as the tires, door handles, trim, and bumpers. The car has a gold-painted grill and hood ornament with the Mercedes logo. There are details, including actual glass in the side mirrors, the drawn outline of the gas tank hatch, and the carefully rendered rear, and front lighting systems.

more coffin pics: http://www.kanekwei.com/past-events/

About Artist: London-Born. Benjamin Shine studied fashion design at The Surrey Institute of Art and Design and Central St Martins in London. Benjamin Shine is a multidisciplinary British artist who has gained recognition in the fashion industry for his creations made from lengths of tulle — a practice which he describes as “painting with fabric”. Shine has worked internationally on installations, and designed clothing, furniture and public artworks.

Media: Tulle is a fine mesh net fabric most commonly used to make wedding veils and embellish wedding gowns. Tulle can be made from a variety of natural and synthetic fibers, including silk, nylon, rayon, or cotton.
Harmony, fine wire mesh, 5ft x 14ft
https://www.benjaminshine.com/projects_to_view/tulle-harmony02.html

Italian artist who uses “chewing gum” (bubble gum) to create pieces of art he says he had a very slippery start probably hard to work with bubble gum but it is very malleable his first exhibition had a problem and it was that his works fell apart after 3 months of being sold so they had to be returned He Started working with gum at the age of 29, the highest piece to be sold was £50,000 

How it works 

He has 2 assistant who unwrap and put heat to the bubble gum and before sculpting he uses a plaster mold he says “the mild is crucial” without it the work would be unstable. His work often makes critical social and political statements he uses the strong colour to reinforce his statement he says  “pink represents artificiality – when you see it, you associate it with a fake world.” 

Academic Decathlon released art packet

Academic Decathlon released art packet

https://josephmarr.com/portfolio/laura/
http://www.tangramint.com/blog-1/sugar-sculptures
https://beautifulbizarre.net/2014/03/24/lick-it-joseph-marrs-sugar-sculpture/ 

https://josephmarr.com/the-artist/ 

http://www.thephotophore.com/joseph-marr/ 

https://valentinagurarie.wordpress.com/2017/10/17/meet-the-sculptor-luo-li-rong/ 

https://www.youtube.com/watch?v=rIjKIlIdzC8 

https://mymodernmet.com/realistic-sculptures-luo-li-rong/ 

The student should display an effective identification and critical analysis of the connections, similarities and differences between the selected artworks, objects and artifacts.

At the highest level of achievement, the work critically analyses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare

http://glasstire.com/2007/02/08/chiho-aoshima-city-glow-at-mfah/
Article concerning City Glow; critiquing it. 

https://youtu.be/5427YXnyKXY
Link to information about the exhibit it was originally in. 

https://youtu.be/WoAeTMElkb
Short clip someone took of the animation.

The process of City Glow
City Glow is a 7 minute, 7 second long animation made primarily by Chino Aoshima (she had help with an animation team.) The animation spanned across five, large screens at the museum I saw it at, and is therefore meant to be viewed on a large scale. The animation is made through a couple of steps: 
1. The sketch is the first step in Chiho's animating progress which is usually a painting she has done. 
2. The scanning is the second step. Chiho will take the painting, scan it, and save it in a digital format on the computer. 

3. Now comes the animation. After selecting the artworks she wants to animate, she and her team of animators begin the process of 3D modeling the artworks using a KaiKai Kiki. This program converted the drawings into vector format which allowed for the animation of the piece. 

4. Dancers were used in motion capture studios to add movement to the vector formats. (5:41 in video) 

5. The final step is in part piecing all of the layers of art vectors onto a large landscape and then rendering the animation.

Function, Purpose, Context: City Glow 
I believe that City Glow has a social function which is evident in its address to the destruction of nature due to civilization. When an artwork has a social function, it means that the piece serves as a means in addressing aspects of the collective life of a people. For Aoshima, her people are the Japanese. Japan is infamous in its technological advancement, growth of civilization, and overall industrial revolution. It is obvious that throughout history, more and more of nature has been sacrificed for the sake of technology, and it doesn't happen solely in Japan. In fact, perhaps it can be said the whole world is infatuated with the idea of urbanization. Therefore, the purpose of this piece is to depict the consequences of a growing, ruthless civilization and is thus persuasive. The argument made within the piece presents the idea that humans should begin to realize the consequences of their actions, especially with industry and building. She advocates for the rights of nature and how beautiful it is by itself, and that how, eventually, no matter what is done, nature will reclaim what was once hers.
Formal Analysis

Throughout the duration of the video, the once prominent paradise seen in the day slowly turns into a landscape filled with tall, winding skyscrapers. As night falls, the faces become demonic and monstrous which is symbolic for the destructive manners of civilization. There is a sense of color play throughout the animation, again seen through the slow change of morning to night. There is change from bright, almost neon colors to dark and rich tones as the time of day shifts. The overall style of the animation could be defined as cute due to the personifcation of the skyscrapers. By this I mean how the buildings are given faces which have large, eyes, small noses, small mouths, and long lashes. These characteristics, along with the almost child like rendition of reality, amplify the cute factor of the animation. This is actually a specific approach to the art's persuasive purpose; lure the audience in under the pretense of a cute artwork and capture them in the negativity of the meaning. Many people have problems with the confrontation of negativity, and thus, presenting her idea in this way, Aoshima almost assures that she will grab and retain her audience's attention. Another interesting portion of the piece is the pacing of the animation. The change from paradise to underworld is drastic yet subtle. Every movement in the animation is deliberately slow in order to emphasise the fact that a change such as urbanization does not happen overnight. In fact, it happens so slow that many do not realize what is happening until the damage is done. 

Bronze figure of Aphrodite. Image from the Trustees of the British Museum.

And it’s not that far removed from many of the images that we are bombarded with in modern culture that have been “designed” or touched up and resized. Jenkins says the exhibition will allow visitors to consider how these artworks have shaped the way we think about and look at ourselves.

3) Harald Damsleth was able to persuade people into believing that the Allied powers were the enemy by illustrating their flaws. In this anti-American poster, Damsleth depicts America’s hypocrisy by adding numerous motifs that represent all the corruptness that the country possesses. The audience is lured by the fact that America values beauty pageants , jingoism, materialism and commercialism. More ways in which Americans are being degraded is that they are labeled as gangsters, “animalistic”, violent, and greedy. With this much negative aspects of Americans, Damsleth labels Europe as the innocent and gullible party that needs to realize the need to fight for themselves, because if they do not then the monstrous America will destroy their lands. 

He actively resists being photographed and has given only a few interviews, believing, as a ture Conceptualist, that his work should stand on its own, and that he, as a artist should not be an object of interest. 

Haacke’s 1969 work News originally consisted of a teleprinter connected to a live feed of political and economic news transmitted from a wire services commonly employed by newsrooms around the world. The machine, which bore the logo of United Press International, would split out lines of news items onto long, narrow spools of paper, which were then cut and affixed to the gallery walls. In later installations, museums allowed the paper to gather into a pile on the floor, to dramatic effect. News was first shown in a 1969 exhibition at the Howard Wise Gallery in New York and later that year in a large group exhibition. Haacke aimed to bring the outside world directly into the gallery, not through engaging the body of the viewer through architectural space nor through a fairly didactic treatment of language or a deadpan depiction of the everyday, but through a constantly spooling machine that recorded current events as they happened.

ACADC packet 2018

“  folktales, myths, legends, proverbs and all sorts of stories have been shared in every society not only to entertain but also to educate and preserve the culture. They reflect society’s attempt to give form and shape to its hopes and fears, and answer to it’s questions, expressing the culture’s belief system. The world is uring to review not only our dialogue among communities but also within our own conscience. The destruction of natural resources is forcing human being to critically analyze its primal needs and adjusts their behavior. And mythological archetypes are useful tools to guide us in the journey of self consciousness ”


Beyond the limits of consciousness

Performed on March 21, 1965 at Carnegie Recital Hall, New York.

Yoko Ono sits motionless on the concert hall stage, wearing her best suit of clothing, with a pair of scissors placed on the floor in front of her. inviting the audience to come up on stage - one at a time - and cut a bit of her clothes off which they were allowed to keep, covering her breasts at the moment of unbosoming.

Ono debuted Cut Piece in Kyoto, in 1964, and has since reprised it in Tokyo, New York, London, and, most recently, Paris in 2003. It is the realization of what she calls a “score,” a set of written instructions that when followed result in an action, event, performance, or some other kind of experience. As with most of her work—which also encompasses music, poetry, film, sculpture, installation, paintings, and events—the participation of others is often key. Equally conceptual and physical, Cut Piece relies upon audiences’ willingness to interpret and follow the instructions outlining their role. Though participatory art is now more common, Ono was among its pioneers. In works like Cut Piece, she invites viewers to become agents in the creation of art.

In her score for Cut Piece, Ono writes: “Cut Piece First version for single performer: Performer sits on stage with a pair of scissors in front of him. It is announced that members of the audience may come on stage—one at a time—to cut a small piece of the performer’s clothing to take with them. Performer remains motionless throughout the piece. Piece ends at the performer’s option.” In a second version, Ono amended the instructions slightly, indicating that “members of the audience may cut each other’s clothing. The audience may cut as long as they wish”.

Cut Piece has inspired numerous (often conflicting) interpretations, including those offered by the artist herself. In 1967, for example, she described it as “a form of giving, giving and taking. It was a kind of criticism against artists, who are always giving what they want to give. I wanted people to take whatever they wanted to, so it was very important to say you can cut wherever you want to. It is a form of giving that has a lot to do with Buddhism.…A form of total giving as opposed to reasonable giving….”

“I have always loved food.  I started cooking when I was very young.  In fact, a neighbor hired me as a caterer when I was about 13.  I always felt the need to create things and turned to food as a creative outlet.  In College, I was encouraged by an academic advisor to go into Dietetics, since options for a career in Food were fairly limited then.  I earned a Master’s Degree in Nutrition and became a registered, Licensed Dietitian.   I had many jobs as a Dietitian and often managed to add creative elements to my work, since I enjoyed that so much.  I worked at a Diet program at Duke University when we lived in North Carolina, during my husband’s medical training.  While there, I initiated a low-fat, low-calorie cooking school for our patients since there were such limited resources on the subject at the time.”