Ana Koh-Varilla Analysis

“Light Rain at Shono” by Utagawa Hiroshige is the example of a Japanese’s technique of ‘printmaking’ that was quite famous among the middle-class families of the 17th to 19th century. This print making gain popularity among the vast group of people because of their cheap prices compared to the paintings. These prints usually depict the scenes during the commute from Edo to Kyoto.

In both “The Dinner Party” by Judy Chicago and “The Vietnam Veterans Memorial” by Maya Lin, there are some striking similarities in composition. These similarities can be noticed through the layout and subject matter of each piece. However, there are still contrasting ideas on how the artists views differentiate through personal feelings.

Dr. Martin Luther King Jr had a dream - a dream that one day all men, women, and children will be treated equally, regardless of color, race, ethnicity, or economic background. The Martin Luther King Jr Memorial was made in order to commemorate Dr. King and his legacy in rising up and fighting for the civil rights movement in the United States, although it has been plagued with some construction and design flaws. In spite of the issues of the background and presentation of the monument, the success of the memorial in honoring Dr. King and his values can be identified using the memorial itself, comments from Park Ranger John McCaskill, an academic seminar

The Tlatilco female figurine (1200-900 B.C.E.) is a ceramic sculpture created in Central Mexico at the site of Tlatilco. The 9.5 cm tall sculpture depicts a woman with two faces exhibiting an intricate hairstyle, a slim waist, and large thighs. The sculptor of the Tlatilco female figurine is unknown, but one can conclude that the artist was from the people of the Tlatilco culture. The people of the Tlatilco culture lived in the Valley of Mexico, where they created many small clay figures, but sculpted them by hand rather than using a mold. The figurine is currently residing at the Princeton University Art Museum. In Tlatilco female figurine, the artist uses visual elements and principles to draw attention to the face and the hairstyle.

The years leading up to Judy Chicago’s first series The Rejection Quintet in 1974 saw a great amount of effort in finding her true identity as a female artist during a time which men made up the majority of the art scene. During the 1971 Rap Weekend in Fresno, Chicago, together with Miriam Schapiro, showcased works that used the central format of abstracted flowers or folds of the vagina. Chicago later reflected on the showcase stating that she could not express her own feelings as she met other women who were just as oppressed as she was through the struggles of being a female artist. The first piece of The Rejection Quintet, How Does It Feel to Be Rejected?, marks the acceptance of the struggles Chicago went through and her symbolic transition into what became her most iconic installation The Dinner Party. This paper will discuss the significance of Chicago’s, How Does It Feel to Be Rejected?, as it proved to be the first small step for her towards revealing the “central-core” for which she labels as her feminine imagery.

The field of criticism is one that varies from academic to absurd. There are critics in academia who examine data, creative works, and various cultural anomalies to learn a higher truth about the world. There are media critics who judge bodies, faces, and “looks.” While these media critics provide valid insight into the cultural ideals of society, this criticism has not found a place in academia (excepting the arts, where judgement of beauty is based not from the subject, but the form and medium). A third kind of criticism falls in between the two: a form of criticism that, while primarily entertainment, is an academic medium which analyzes the arts in society. Food, book, and film critics analyze creative works that reflect upon society. While these critics offer subjective views of these works through their reviews, some critics also reveal new truths about society.

In the novel, If Beale Street Could Talk, James Baldwin uses the motif of emasculation, to show the sense of powerlessness, and the suffering, caused by racism.

This essay examines one of the many self-portrait paintings by Frida Kahlo called ‘broken column’ (1944). In this painting Kahlo portrays herself as a complete full bodied woman while also reflecting her broken insides. She stands alone against a surreal barren fissured landscape that echoes the open wound in her torso. A broken stone column replaces her damaged spine and is protected by a white orthopaedic corset, while sharp nails pierce into her olive naked flesh. Frida is partially nude except for the corset and white bandages. The painting is at eye level so you are face to face with Kahlo’s severe agony and pain.

Pepon Osorio is a sculptor and installation artist of Puerto Rican descent that creates artwork which are testimonial to his life. Osorio’s parents discouraged him from pursuing a formal education in the arts because “being an artist is not going to do it.” As a result, Osorio majored in sociology and became a social worker in New York City in which he constantly connected with the community around him. Although being a social worker was not his true calling, what he did as an artist was not so different from his social work. “As a social worker, going and visiting homes, moving from here and there, realizing that the impact was very similar in many different ways. Obviously, the art has a much greater extent of interpretation, and I wasn’t

They make you feel the connection between yourself and the object, which makes you feel like the sculptures are masks or faces. The scupltures power puts off the feeling of the control over African Americans during slavery. Its compositional exchanges, sculptural unity, and poetic suggestiveness are always more persuasive than the functional reality of the objects within

American Literary stage has an array of expression. It is rightly asserted by Bhongle “Almost every literary genre is rich with new notions, and new ideologies. Women’s writings in America, Afro-American Literature, and Literature of the Immigrants Experience, and of the other ethnic groups- and the actively operating small but significant factors within these broad movements - make the contemporary American Literary scenario highly appealing”

The Colored Museum is a satire about African American Culture which examines the influence of history on African Americans. George C. Wolfe uses political theater’s alienation effect to engage the audience into critical thought. The title “The Colored Museum” is a direct correlation between the word “Museum” where ancient artifacts are unchanged and “Colored”, a word from the past which is figurative for stopping time and escape. The Colored Museum has 11 exhibits which mock different aspects of African American history and culture. Wolfe also illustrates the affects of African Americans assimilation into the European culture with exhibits such as, “The Hairpiece”. Wolfe urges African Americans to take a closer look at history to see the

Political figures in art has always been an important part of our history, culture and artistic representation, Roman and Byzantine art is a classic case of these representations. The Equestrian Statue of Marcus Aurelius and Justinian as World Conqueror are two examples that demonstrate the power and prestige of these political authorities. First, Equestrian Statue of Marcus Aurelius from the Roman, Italy (173-176 CE) measures 11’6” high, cast in bronze. Secondly, Justinian as World conqueror from Byzantium period measures 13” x 11” entire panel, center panel 7” x 5” and 1” deep. The creator of the equestrian statue is unknown, however, the creator of Justinian’s ivory relief was probably made by the imperial work of Constantinople. The Equestrian Statue of Marcus Aurelius and Justinian as World Conqueror both depict the power, prestige and clemency of a political figures. Yet, both are distinct in their artistic representation which I’ll discuss below.

My exhibitions have positioned Black artists and their works in a wider spectrum of American art production by articulating and offering other contexts for their works beyond their race through noteworthy exhibitions curated at and for Black museums. Publications accompanied most of the exhibitions. The exhibitions and publications served to increase the profile of the museums, improve their cultural sustainability in the minds of visitors and supporters, and enhance the livelihood of residents the respective communities where the museums were

Allen Locke, Negro takes His Place in American Art, a bit similar to Barnes’, Negro Arts and America, essay is close to how unique Negro’s Art is and has become. Locke discusses the three objectives of the fifth Heaven Exhibition of the Works of Negro Artists (HEWNA) in which Barnes supports it. He professes, “One is encouragement of the Negro artist; another, the development of Negro art; and third is the promotion of the Negro theme and subject as a vital phase of the artistic expression of American life.”(134) Then he assures readers that the HEWNA assist in establishing young artists to pave a way to push artists where they should go, however, the idea of exhibitions from years ago shift. The Negro Art style shows different perspectives