Art

The art form of modernist period, can be generally stated from late 1900, in this period of
time people was exposed to lot of social reforms, like in the fields of economical, cultural,
political and educational change all over the world. Modern era artists were allowed to
experience  freedom in their works and exploit new techniques. Contemporary art form is one of
the well known art form which was followed in modern era. Here the idea behind this art form
was to make the audience, think about the subject to which the art work was to be performed.

Many female artists can be stated as an example who followed this kind of art work,  like Janine
Antoni she uses her whole or different parts of the body to create the art work. In her work called
loving care(1992) she uses her hair as paint brush. She dips her hair in a bucket of dye and
mops the gallery floor on her hand and knees.

Many types of modern artists can be classified according to their field, by their choice of
work. Like performance art, painting, theater artists, photographers, designers, sculptors etc.
Shahzia Sikander who is a Pakistani American artist is specialized working in Indian and Persian
miniature paintings. Fiona Rae born in Hong kong in 1963, was settled in England she is an
painter who uses oil paint for all her drawings. Her painting reflects the way she experiences the
work and tells about her as a person who she is really. Barbara Kruger born in New Jersey, is an
American conceptual artist, designer and writer. She is an important person who deals with the
post modern and feminist issue. She entered the magazine Mademoiselle as an designer , she
designed book covers for political texts. She is an graphic designer and is also involved in films,
televisions and mass media .Kruger photographs the picture herself and then give captions for it.
These captions speaks for themselves in the photograph one such examples are  I shop therefore
I am. Her works has been placed in galleries, public places and magazines. Lot of such
examples can be given from modern era women artists. Their limitations does not stand in this
fields alone they shine in mass media, films and sculptors.

A detailed account of Asian American artist Yoko Ono can be illustrated here as to study
In detail about female artists . Yoko Ono is one of the eminent personality who was an artist and
was able to perform in various fields like music, poetry, writer, an contemporary artist etc. She
was born in Tokyo Japan, on 18th February 1933. She was the eldest of three children in her
family. Her family emigrated from Japan and settled in New York. She began her musical
classes for piano at a very young age and received vocal training from opera. Yoko had interest
in learning conceptual art and poetry. She teached Japanese art and music in public school
system. At age of 19 she settled back in New York and learnt music from Sarah Lawrence
college as avant- grade artists. Where she met her first husband Toshi Ichiyanagi and got married
in 1956.In early 1960 she started as an artist performing music and poetry her artistic nature
made her cross many boundaries like art, film, music, and theatre media. Yoko s work often
demands the viewers participation and forces them to get involved, regarding her family life, she
had a difference of opinion with her first husband and so she divorced him Later married
Anthony Cox a jazz musician and film producer they also had a daughter named Kyoko.

In 1966 Yoko went to London to stage an art piece performance called cut piece .where
the audience was invited to cut pieces of her clothing until she was naked. The success of this
work lead to a personal exhibition show where she met John Lennon, who was a known singer in
Beatles group. This was a major turning point in her life. John was impressed by her work he
was having an art school background. Lennon and yoko became friends and worked several
projects together .Later they divorced their spouses and got married in 1969.After their marriage
they both did a joint venture of works like making movies and in art. Some of their albums like
give peace a chance, new wave was big hits. The most famous was bed in held in
Amsterdams hotel during the couples honey moon. she became a part of a group known
as Fluxus whose artists had a challenging relationship with art work and viewers. In 1961 she
made a painting called as to see a room through , where a room was covered with canvas and
the viewers can view it through a hole. These forms of her contemporary art had a reach among
the public. Yoko Ono wrote a book of instructions called Grapefruit ,this book gives instructions
that are to be completed in the mind of the reader.  During her mid sixties yoko Ono began to
explore motion pictures as another extension of art. Her first film was released in1964 a walk to
Taj mahal, in this film she breaks the barrier between the camera and the audience. The camera
takes a viewers point  walking through the snow storm.  She made movies with different themes
like Bottoms, this movie consists of a close examination of the naked human body. Where she
shooted series of frames made up of nothing but hundreds of naked backsides. She also made
theoretical films and documentaries.

In 1970 Yoko Ono  Plastic Ono band were the two albums having identical covers, in
this album Yoko experimented a new trend by mixing harsh vocals influencing Japanese opera,
and free jazz techniques which made a new reach among the audience and collected a great
amount in the us charts. Yoko is a radical artist someone who requires an open mind in order to
have her work appreciated. Both yoko and Lennon has a son Sean in1975 .After this Lennon
took care of household to take care of their son. During this time period a great tragic incident
took place in Yoko s life, John Lennon was shot dead by Chapman in 1980 December 8. Yoko
was filled with grief but later she recovered herself as she re-did lot of her early art work in
bronze and continued with her music. She remained active releasing music albums and
composing two of her Broadway musicals most recent being the Hiroshima. She released albums
like seasons of glass in 1981,  it s alright in 1982. Yoko Ono resumed her carrier as a visual
artist who created art reformations and she also had a new found interest in the field of
photography.

In 2001 yes Yoko Ono a forty year retrospective of Ono s work ,received the
prestigious international association of Art critics U.S.A award for best museum show in the
New York city. Her latest album in 2001 was blue print for a sunrise. Yoko Ono is the one
who is guarding over John Lennon legacy, On October 2009 Yoko dedicated a memorial called
Imagine peace tower, located in Iceland. She also created New York city Rock and roll hall for
John Lennon ,which exhibits music ,photographs and personal items which depict Lennon s life
in New York.

Yoko Ono was nick named as Dragon lady. As per the name given to her she was a
lady with strong mentality, who has great ideas in making her art work , films and music
successful .By taking an bold approach in the views of society, by telling her own views which
sometimes got opposition and controversial talk from people. But she never took her legs
back in expressing her own views and ideas. When she married John she was thought as a reason
for the split of Beatles group, but later by her work with John she won the hearts of people. Yoko
Ono through out her life faced many controversies and was also not very successful in her
marriage life. Only after John in her life became stable and also succeeded in her career .Yoko
did not re marry after death of John she still has long lasting love for him.

Few Renaissance paintings are most famous than Botticellis the Birth of Venus and the Primavera. These paintings, like other paintings of the era, draw from a number of influences, both classical and contemporary to Botticellis time. There is reason to believe that Botticelli was specifically influence by Neoplatonism, specifically the writings of Poliziano and Ficino. If we look at the paintings through the lens of Poliziano and Ficinos works, a number of conclusions can be drawn,  some of which will be discussed throughout the paper. If Botticelli was greatly influenced by Neoplatonism, there is reason to believe that he was influenced by Plato, specifically Platos idea of Venus as representative of both earthly love and spiritual love. According to Plato the earthly form of love leads to the spiritual form of love and ultimately to the contemplation of divine love. If Botticelli did use this idea as a motif in both works, there is reason to believe that the two paintings are complimentary, with the Birth of Venus representing heavenly love and the Primavera representing earthly love. Finally, looking again at the complementary nature of the Birth of Venus and the Primavera, we can possible see how together the paintings represent the cycle of birth, life and death.

The Birth of Venus, together with the Primavera was believed to be commissioned by Lorenzo de Medici and given to his cousin Lorenzo di Pierfrancesco as a wedding present.   Based on the stylistic quality of the work, art historians have determined that it was painted using tempura on canvas sometime between 1485 and 1487.  The painting uses non-naturalism to add to the mythic look of the work. For one, the elegance of Venuss voluptuous body is supplemented by the fact that she has an elongated neck and torso. Such proportions are impossible for the average human being.  She stands in a classical contrapposto position, on the edge of a shell but with no fear of the shell tipping over. These aspects of the painting combined with the backgrounds lack of naturalistic perspective and the fact that no shadows are casts demonstrate the purely mythological nature of the painting.

There are a number of different interpretations of the Birth of Venus. One such interpretation is that the painting was inspired by the literary icon Angelo Poliziano. In his Stanze we see a description of the doors of the temple of Venus as they are being built by the Vulcans. In such a description Poliziano is utilizing a common literary form in the Renaissance, known as ekphrasis, where one artistic form emulates another artistic form. This exerpt from Stanze makes Polizianos influence on Botticelli seems almost obvious

In the stormy Aegean, the genital member is seen to be received in the lap of Tethys, to drift across the waves, wrapped in white foam, beneath the various turnings of the planets and within, both with lovely and happy gestures, a young woman with nonhuman countenance, is carried on a conch shell, wafted to shore by playful zephyrs and it seems that heaven rejoices in her birth.

Both Poliziano and Botticelli were working under the influence of the Medici court in Florence, so the similarities between the two are anything but coincidental. Renaissance artists of many different mediums often drew from other mediums in order to elevate their status on the hierarchy of artistic expression. Renaissance painters attempted to distance themselves from the base manual arts as much as they could and in doing so often took to poetry as their inspiration.  This relationships between painting and poetry is described in a famous dictum of Horace in Ars Poetica as ut pictura poesis, or literally As painting so is poetry.So not only was Poliziano mirroring painting through his use of ekphrasis, but Botticelli was also mirroring poetry in order to elevate his own art form.

Another way artists of the Renaissance attempted to elevate their own status as artists was to model themselves after the great classical figures of antiquity. One such figure was Plato. Platos Academy was a site of learning and intellectual stimulation. Cosimo de Medici in particular took inspiration from Platos Academy and established his own academy in the Renaissance. According to Erwin Panofsky, the Neoplatonic Academy of Florence was  a philosophical system which must be reckoned among the boldest intellectual structures ever erected by the human mind... which had its origin in the  Platonic Academy  of Florence, a select group of men held together by mutual friendship, a common taste for conviviality and human culture, and an almost religious worship of Plato.  Since Cosimo de Medici has immense power in the time of both Botticelli and Poliziano, it seems very likely that both figures would be quite influenced by these Neoplatonic ideals. According to Panofsky, the Neoplatonic Academy had three main goals in mind. The first goal was to translate Platonic and other ancient Greek works into Latin, making sure to review and analyze these works. The second goal of the Neoplatonic Academy was to organize these texts into a philosophical system,  capable of instilling a new meaning into the entire cultural heritage of the period, into Virgil and Cicero, as well as into St. Augustine and Dante, into classical mythology as well as into physics, astrology and medicine.  The last was to harmonize this ancient Greek-inspired system with Christianity. This last goal is an integral aspect of the Neoplatonic interpretation of both the Birth of Venus and Primavera.

According to this interpretation, the Neoplatonic Academy of Florence took their interpretation of Venus from Plato. According to Plato, Venus had two roles as goddess of love on earth she inspired physical love among humans, while in heaven she inspired spiritual love in humans. For Plato, looking at physical beauty can lead to the contemplation of spiritual beauty. He argued that one must

...begin from the beauties of earth and mount upwards for the sake of that other beauty...until from fair notions he arrives at the notion of absolute beauty, and at last knows what the essence of beauty is... Beholding beauty with the eye of the mind, he will be enabled to bring forth, not images of beauty, but realities... and bringing forth and nourishing true virtue to become the friend of God and be immortal, if mortal man may.

In this hierarchy of beauty, since Venus is the most beautiful of the goddesses, at first she inspires a sense physical of beauty, which then leads to the reflection upon beauty in the abstract and ultimately to the contemplation of the God.

This interpretation of beauty was easily employed by the Neoplatonic Academy, which, as stated earlier, attempted to reconcile the values of ancient Greece with Christianity. If the Birth of Venus is understood in terms of Neoplatonic ideals, it is likely that the goal of this painting was to inspire a sense of beauty in the viewer that would lead to a contemplation of divine love. Neoplatonic writer Marsilio Ficino provides further evidence for this idea. Since there is reason to believe that the Birth of Venus hung opposite Primavera, there may be a correlation between these two complementary Venuses and the notion of  twin Venuses  discussed in Ficinos Commentary on Platos Symposium. According to Ficino, there are  two Venuses in the soul, the one heavenly, the other earthly. Let them both have a love, the Heavenly for the reflection upon divine beauty, the earthly for generating divine beauty in earthly.  If we understand the Birth of Venus in relation to Ficinos idea of  twin Venuses , the painting easily lends itself to an interpretation of Venus as a representation of divine love. This same interpretation would then also lead to the conclusion that the Venus of the Primavera represents earthly love.

The Primavera was painted using tempura on panel in around 1482. Like the Birth of Venus, the painting was assumed to be owned by Lorenzo di Pierfrancesco de Medici, but there is some debate about when and how the painting was acquired. This painting is much busier and harder to interpret than the Birth of Venus. In the center (and slightly in the background) of the painting is Venus.  To her right the Three Graces are dancing in a circle, oblivious to Cupid aiming one of his arrows in their direction. The Three Graces are the Roman equivalent of the Charites of ancient Greece, representing beauty, mirth and good cheer. The entire scene is carefully guarded by Mercury (on Venuss right hand side). We can identify him as Mercury because of his winged shoes and caduceus staff. His status as protector is demonstrated by his adornment of a helmet and a sword. Despite his status as guardian, he maintains the leisurely atmosphere of the entire scene with his relaxed contrapposto stance as he reaches up pick some fruit off a tree. To Venuss left, we see Zephyrus, the god of the winds, vigorously trying to push his way into the leisurely scene in pursuit of the nymph Chloris. Next to Chloris is the goddess of Spring, Flora. She gazes directly at the viewer, welcoming them into the scene by scattering flowers in their path.

Many believe that the Birth of Venus and the Primavera complement each other. The alignment of both paintings suggests that the two paintings combine to form one message. In effect, the scene shown in the Birth of Venus evolves into the scene depicted in the Primavera. The placement of one male figure and three female figures is repeated twice in the Primavera, first with Mercury and the Three Graces, than again with Zephyrus, Venus, Flora and Chloris (Cupid occupies another level outside this alignment). If the paintings are held side by side (with the Birth of Venus to the left and the Primavera to the right) they seem to tell one story. The Birth of Venus, as the representation of the spiritual realm, depicts the birth of the soul. Mercury, looking away from the earthly scene in which he resides, focuses on the mystical scene of Venuss birth, pointing to his role as mediator between the spiritual and the earthly realms. Next in the scene depicted in the Primavera are the Three Graces, which according to De Giolami represent all that is complementary to human life they depict all that exists in a superlative way the most precious and beautiful in nature and in the life of an individual poetry, music, art, virtue and knowledge. This interpretation of the Three Graces falls directly in line with Platonic and Neoplatonic philosophy, which, as mentioned earlier, sees earthly beauty as leading directly to the contemplation of beauty in the abstract, which is what the Three Graces are said to represent. The final section of the painting to the right represents the fulfillment of life, and ultimately, death. To the far right we see Zephyruss attempt to steal Chloris away from the earthly realm, but Venus and Floras impregnated bodies point to development of a new soul. In a sense, the cycle continues. This conjoined scene represents not only the birth-life-death sequence, but also the Neoplatonic discussion of emanation raptureconversion re-ascent used in discussions of the immortality of the soul.

Throughout this paper I have evaluated a number of possible interpretations of the Birth of Venus and the Primavera. Without a doubt, all these interpretations point to the classical and Neoplatonic literary influences of Botticelli. Although none of these interpretations are conclusive, they open up a world of possible ways to consider both works. Whether we consider them together or separately, it goes without saying that are full of meaning. Examining all these possible meanings can be both an enjoyable and fruitful task.

The Cummer Museum of Art and Gardens, Jacksonville, Florida
Saturday, April 24, 2010, 2 p.m.

Question One
Guide to Croaghan

Question Two
Robert Henri

Question Three
Henri is a realist of the Ashcan School, an American movement in the early twentieth century that sought to depict working-class people and neighborhood as they really were.

Question Four
The piece is dated 1913.

Question Five
Henri is an American artist, born in Cincinnati.   Guide to Croaghan is a portrait of Brian OMalley, an Irishman who escorted Henri and his wife to the cliffs of Croaghan.

Question Six
The subject is placed over a dark background indicated by swirling brushstrokes of black and green, perhaps a depiction of a green velvet curtain. The subjects pale complexion stands in stark contrast to the background and the subjects dark clothing. The ruddiness of the subjects cheeks immediately catches the eye as it moves from the cool depths of the background to the face in the foreground.

Question Seven
Though the work is decidedly realistic, the artist has brought out the sharp angles in the subjects face.  His cheekbones descend to his bony chin in what is little more than an embellished triangle. His head sits atop the triangle of his body as his shoulders slope away from his neck.  His torso and clasped hands form a diamond.  Henri has gone out of his way to make the subject look very angular.

Question Eight
 The portrait seeks to convey a stark realism. The subjects wind-burnished face makes the viewer wonder what kind of life he has led, the things he has seen.  His proud gaze and erect posture, even in old age, testify to the dignity of the working man--in this case, the Irish servant. Henri is asking the viewer to respect the subject.  Though the subject is old, he looks spry, his clasped hands and bent knees seem to indicate that he could stand at any moment and go back to work.

Question Nine
Henri and his fellow artists dominated the Armory shows from 1904 to 1913.  It is likely that a wealthy Jacksonville collector purchased the portrait of the hard-working guide.  It was mentioned that Ashcan artists often clashed with their wealthy patrons.

Question Ten
The portrait is oil on canvas.

Question Eleven
The piece is approximately 41 inches by 33 inches.  I felt I had to step closer to the portrait to see who or what was looking back at me.

Question Twelve
The texture of a brush can be seen in the paint used to create the background.  The redness of the subjects face seems to have been done with paint applied by a knife--perhaps even an impasto technique.  The sharp angles of the subjects face seem thick with paint while his hands and clothes have a thin texture.  This directs the eye to the subjects face.

Question Thirteen
There does not seem to be a natural source of light on the subject.  His face seems to glow. The effect is dramatic.

Question Fourteen
The portrait reflects the social and political values of the Ashcan school in showing the dignity and virtue of a working man.  The Ashcan artists were subversive in their attempts to apply turn-of-the-century realism to poor and working-class subjects.  In its subject matter, and not its style, The piece almost seems like a rebuke of a John Singer Sargent portrait.

Question Fifteen
The subjects body and the portraits background lack depth--they seem to exist on the same plane.  The subjects face has a vivid tree-dimensional quality, and his nose seems at a different depth than his mouth.

Question Sixteen
In an effort to draw the viewers eye to the subjects face, the background and the subjects torso have been flattened with long, smooth brush strokes.  The subjects face takes on an entirely different texture.  His cheekbones, thick with paint, seem to stand out from the canvas. The subjects eyes are a very wet blue--they seem to glisten.

Question Seventeen
The subject is not exaggerated.  The work is realistic.

Question Eighteen
The realism of Sargent seems to be an influence.  Heavy brush strokes are used to create depth in the face.  Degass attention to the inner lives of real people might also have influenced Henri in his choice of a subject.

Question Nineteen
The portrait reminds me of Van Goghs self-portrait in the way he defiantly stares at the viewer.

Question Twenty
Self-portrait, Vincent Van Gogh, p. 186, 1887, Dutch.

Question Twenty-one
I would take John Singer Sargents In the Alps.  It is probably the most expensive painting in the museum, and it would be a good investment.

Question Twenty-two
I like the way the Cummer presents their collection.  The lighting in the galleries was done well with very little light away from the paintings.  The walls were a dark pastel color--surely this is better that white museum walls.  I was not familiar with most of the artists in the collection, but I enjoyed the visit very much.  The gardens were lovely.  I was amazed at the gnarled oak trees, many of them over a hundred years old, in the gardens by the river.

Introduction
The purpose of this paper is to explore issues of social justice, with a focus on animal cruelty, and to create awareness to the public through a creative process. The objective of this paper is to illustrate that stories can be used to change lives and also adjust peoples practices with the aim of enabling them to become more socially and environmentally conscious. In other words, in this paper it is evident that one can influence change basically by talking about issues and concerns that usually happen.  Animal cruelty is a vital issue of social justice since we live with these animals and they form part of our social system.

Cruelty to Animals
According to Encyclopedia of Animal Rights and Animal Welfare, cruelty to animals can be defined as the act of inflicting physical pain, suffering or death on an animal beyond the levels required for normal discipline. It can include monstrous neglect and being put in looming danger of death (Marc Bekoff  and Carron A.).


Back ground information
I chose animal cruelty as my issue of social justice after my experience in seeing how people mishandle animals. Most people are ignorant about the issues regarding animal cruelty and they have to be informed creatively in order inculcate this issue in them (Stuff). My interest in cruelty to animals developed when I read Just a Dog (Arluke, 183). From this book, I was offended by the case which occurred in June 1996 where a judge summarily dismissed the egregious case of animal cruelty against Willa (the dog), despite strong evidence that the dog was hideously beaten with base bats.

Importance of addressing the issue of animal cruelty
There is a common characteristic between animal abuse and violence between human beings.  They are both living creatures, and they both have the capacity to feel pain and distress and die due to inflicted injury. Secondly, there is a relationship between animal abuse and violent offences Kellert and Felthous (1985). Thirdly, violence toward animals can be a sign of danger to people in a society. Studies have shown that people who abuse animals have some psychological disorders. It addresses the fact that animals are vulnerable to abuse because they cant say what happened to them. This research was enjoyable because during the study, I learnt what should be done to avert social injustice to animals (ASPCA).

Artists addressing the issue of animal cruelty
Some artists are creating awareness about animal cruelty through using social web sites like Facebook. Should animal cruelty in Asian films be censored when those films are released in Europe and the US(Ard Vijn). Other artists are addressing this issue by writing books. For instance sociologist, Arluke, 2006 wrote a book Just a Dog to raise awareness on cruelty to animals (189).

The methods used by the above authors are effective depending on the target groups. Using books will be quite effective when addressing scholars while use of films and social will be effective when addressing particular social groups. For instance use of Facebook will create a major impact in the lives of the youth, particularly stdents. Addressing this topic can also be approached by a topic for drama, song or plays in festivals.  By doing this, many people who do not have access to literature or the web will be reached and the information disseminated.  

What should be done to restore justice
Children should be educated on the benefits of being kind to animals and what they should do ensure justice to all, including animals. This concept can be implemented by including cruelty to animals in the academic curricula in school. Parents or adult should ensure that their pets are happy and loving, when children see this, they will instinctively care for their pets feelings. The concept of education about cruelty to animals should be extensive to include the adults. Children under four should not be exposed to cruelty since at this age they are able to learn that such actions make others, including animals, sad. People should be taught how to handle different kinds of animals so as not provoke them. People should be taught how to act when they see others treating animals cruelly.

Methodology
Cruelty to animals is not monitored systematically in the national crime reporting system (Howard Snyder, Personal Communication, January 22, 2001). Due to this I relied particularly on data from studies in development psychology and psychopathology to estimate the prevalence this problem behavior in a samples of youth. I also formulated a questionnaire which included questions about cruelty to animals. I also relied on the care takers of the abused animals report just as Achenbach-Quay when he formulated the Achenbach-Quay (ACQ) behavior Checklist (USA Today).

Conclusion
Different forms of arts can be used to influence peoples perspectives on issues. Cruelty to animals is an issue that artists can raise awareness on using various forms- music, books, media and in film.

Klonk explores the different reasons and purposes behind peoples gallery visits. While some go to galleries and exhibitions for art appreciation, some visit for emotional reasons while a few choose to observe visitors, others search for personal identification. Similarly, across cultures and countries, intentions in visiting museums vary and galleries themselves have diverse uses. For instance, galleries in Africa represent their collective identity they provide a sense of who the individuals are in Europe and the United States and they divulge colonial history for others. Nonetheless, Klonk focuses his study on galleries in Europe and the US, particularly London, Berlin, and New York. According to him, public art galleries and the notion of experience as intellectual categories share similar origins and have drawn strength from each other over time. Wilhelm Dilthey, a German philosopher, made experience the core of human sciences. Hence, galleries in Germany during his time strive to create an experience that was intuitive, intimate, and something that would harmonize the visitors emotions with the displays. Crucial to this experience is the history of displays in the galleries. Klonk claims that science and the marketplace are two significant factors in examining displays. He reveals how psychology, interior design, and aesthetic reform movements influenced Berlin in 1900s how Einsteins Relativity Theory articulated new spatial conceptions how modern capitalist markets influenced museums and set the stage for other international museums in New York in the 1930s how museums evolved to become entertainment spaces in the late 20th century and how the white spaces inside galleries continue to house star artists despite little or drastic changes outside them. By examining this interweaving of gallery spaces layout and the texture of experience, Klonk concludes that galleries not only showcase their fascination and efforts but also give a glimpse of the different ways and forms people interacted in the past.

Summary of Article 2 Witcomb
The specific argument pointed out by this chapter corresponds to the creation of interactive thinking and communication as it relates to the museum experience. Here, it tries to showcase the value of understanding this term linguistically and its pedagogical dimensions as it relates to the seeking to convey meaning and value to each artistic interpretation showcased in the museum grounds. In essence, it is true that museums try to convey meaning and significance towards their specific works. However, proper consideration must also be made if these themes coincide with the facilitation of a responsive experience for many.

Given these, Witcomb points out the relevance of interactivity its definition towards its value in the approach of museum enhancement. Here, modernity has shown too much reliance towards technology that has corresponded new directions towards the facilitation and implementation of stagnant and unresponsive audiences within museums. Here, designers forget the real essence of knowledge acquisition and furthering specific objectives that relates reality towards the aesthetical design.

Such directions then help engage the value of interactivity from the lines of fluidity. Here, it must not be forced or applied mechanistically to the observant but rather correspond to harness specific connections with the humanistic experience and culminate themes related to expansion, commitment, and partnership to the communityaudience it partakes with. Given these situations, the value then of interactivity remains crucial because it seeks to strengthen the aesthetic experience among museum visitors and merge their ability to continuously dialogue and transcend familiar and different meanings. Thus, it is through such facilitation that the common patterns shaping possibilities are made available due to the existence of interactivity and open up the potential of discovery of both familiar and relatively new ideals.

Summary of Article 3 Losche
This particular chapter focused in the creation and development of the argument concerning distance and immersion. Here, it coincides with the process of using the senses in establishing authentic experience within a museum or a specific artwork. Such transcendence equates the usage of the senses to activate this specific outcome. By highlighting all these areas altogether, it seeks to create a better response towards diverging from the senses conventional value to a more naturalistic interpretation. These then becomes the essential instrument in shaping and cultivating effective responses towards achieving lasting experience for the senses to consider.

To point out such arguments, the Losche specifically uses the example of Margaret Mead Hall of Pacific Peoples where the capacity to elaborate and point out the existing themes shaping ethnographic modernity remains to be seen. In here, museum tradition as it relates to the contrasting elements illustrated by ethnography and anthropology. While the former may focus on the real accounts and experiences by the people, the latter exhibits the associated design and architecture. However the main issue here is how to align these issues altogether to create a more favorable value and supplement the senses.

By catering to the visual and sensory perspective embedded with the Margaret Mead Hall of Pacific Peoples, Losche realized the value and significance of establishing wholeness and within the theme it seeks to portray. Seeing this, the design of the PPH transformed into the diorama it created to engulf within the people. However, this became a mistake as it only fostered only a stance of an observer and viewer. Here, the distance is compromised and created limited opportunities for the viewer to utilize their senses and come up with different ways to become immersed.

Summary of Article 4 Kirshenblatt-Gimblett
The analysis made by Kirshenblatt-Gimbletts analysis correspond to the initiatives made by the organizers of the 1990 Los Angeles Festival and how it relates to creating an innovative and outside the mainstream approach in its planning and administrative process. To achieve this, the organizers conceptualized a new approach of how to address the festival  restoring its original purpose and how it can be created accordingly. Such dimensions then infused better means for establishing and creating something new outside of the box and infused better means of immersion and appreciation.

With this, Kirshenblatt-Gimblett sought to discover the features of the 1990 Los Angeles Festival by outlining the defining patterns of uniqueness from its predecessors. Here, it considered the performance aspect as it relates to the capacity of inducing new ideas and inputs in terms of understanding what these different cultures have to offer. Through such ability, the article argued that this confusion created better means to transcend and correlate the purpose of both social and cultural worlds. In essence, aesthetic comprehension was gained due to the immersion to the unfamiliar and unconventional.

Given these, the article then elaborated the relevance of choosing the right venue to induce authenticity and establish unique connections between performers and viewers in the festival. By tapping accordingly to both ethnographic backgrounds and the realm of aesthetics then corresponded to both challenges and opportunities to help participants and observers realize the compounded ideals pertaining to adherence towards norms, structure, and coherence with the overall theme. Thus, the combination of these cultures together with Los Angeles perspective infused greater means for establishing a new purpose in defining the idea of festival and gaining a form and specific structure.

Summary of Article 5 Fraser
This paper corresponds to the value of museum experience. Here, it highlights the capacity of its structure, design, and architectural space provides and complements the museum experience. These then complements the ability to enrich appreciation and experience by outlining how these elements create a totality of what comprises the meaning and intention of artists in different genre. Such analysis then brings about the capacity to induce new directions towards inducing patterns of connections among museums.

However, through time, Fraser points out that the conditions of museums have gradually changed. It is not anymore an enclosed space where it embodies a new dimension of experiencing art as it relates to the conditions of harnessing different feelings and opinions. Rather, it became an instrument for markets to showcase their individual perspective about artistic relevance and aesthetical standards. This then alienates and creates a new feeling of limiting connection towards cultural networks and harnessing limitations in terms of appreciation and value to the structure of museums.

Now, due to globalization and continued market pursuit brought about by museums, these experiences then highlights a new perspective and value. Contrary to before that the place brings about welcoming warmth and feel due to the different attractions available, it now becomes a mere shelter of memoirs, artifacts, and artworks that are considered valuable and significant to the eyes of its benefactors. Such cause then brought about the shift from a valuable piece of shaping experiences to a more competitive tone  seeking survival and sustenance from benefactors who only appreciate their taste. In essence, the museum experience that Fraser argues here becomes constricted towards a selective few and showcased limited avenues for all to appreciate and value.

Summary of Article 6 Price
The theme explored by Price in this article reflects in the idea and conceptualization of todays communities and society pertaining to Museum and museum. Here, it coincides with the symbolisms and perspectives relating to these two ideas. Here, it argues that amidst their connections, each idea showcases different applications. On one hand, the Museum remains to be a social construct that seeks to house important remnants that are relevant to history and man. On the other hand, museums transcends more than these. It showcases the elaboration of ideas, values, and perspectives among cultures that became manifested in different forms. It collaborates with structure, architecture, and design in order to create transcendence towards individuals and connect common and diverse patterns that makes each one unique in a special way.

Given these, there is the need to apply these differentiations between Museums and museum. Not only can this shed the light on the appropriate perspective for application but also induce the appropriate responses among viewers. Such dimension also opens up patterns that can establish appropriate standards that address confusion and inability to understand the symbolisms that interaction of these two ideas with common ideas such as culture, politics, and history accordingly. Similarly, by expanding the study of these also bring up common roles in facilitating objectives and conveying meaning among viewers. By arguing towards audience empowerment and the associated need to educate individuals about this differences, Price feels the commitment towards both recognizing the existent trends of todays modern culture and preserving what the idea of museums seek to convey and provide. It is through such purpose that there is indeed a need to create such associations and create a lasting value in the way people derive meanings from museum visits.

Article Summary 7 Wallach
The main argument highlighted by Wallach in this article corresponds to the relationship and establishing connections between high art and popular art in the light of an American modern museum. By outlining the contributions and work of Rockwell at the Gugenheim Museum, Wallach showcases the ability of providing the value of high art and establishes an association with popular culture.

To first highlight his argument, Wallach points out the historical development of works by high culture during the start of modern museums. It portrays common themes of exclusivity and adherence to aristocratic means and standards. Such dimensions then provided these distinctions accordingly and justified its continuity through time among artists and contributors. In here, specific themes and elements of taste became the necessary boundaries that define these works from popular culture. However, the works of Norman Rockwell established the capacity to use these elements to bridge these themes altogether with the idea of popular culture.

The shift towards these ideals became evident because of the increasing democratization of museums. The exclusivity among high culture works continuously becomes overcome by artists who sought to establish the connection between these two together. It became a resonation of reality viewed by both high and popular culture altogether. These shared experiences and perspective brought about the capacity to transcend over modern ideals and perspectives. It became a culminating process to both transform these differences altogether and provided new opportunities to appreciate these works on a different basis. Such contributions in the Guggenheim set the balance in the convergence of meaning, immersion to reality, and the convergence of new trends relating to appreciation and projection of what artists seek to convey and provide.

Summary of Reading 8 Falk, Dierking, and Adams
The main idea explored by Falk, Dierking and Adams seeks to promote the value of how museums seek to establish free-learning among visitors. It takes into account the capacity to induce new direction that can harness fruitful experiences among participants. In here, specific themes were highlighted to address these objectives. One essential output elaborated by the authors corresponds to the facilitation of broad range of learning outcomes. Given the limited capacity and space of museums to address this, the challenge then pertains to the how viewers can expand their knowledge, skills, and appreciation amidst these limitations.

Other elements were also considered so as to address the changing nature of museums today. Here, specific analyses were made on how time, validity, situations, and specific agendas are pointed out to correspond to the ability to nurture free learning. At the same time, given the numerous opportunities for individuals to acquire information, there is then the capacity to incorporate these as consideration in the formulation of new free-choice learning among members and letting it emanate among museums. In essence, the ability to foster this initiative remains to be a good investment to museums. By outlining new directions towards shaping these ideals accordingly, it can help espouse new interests and ideas. Here, museum serve as an institution for inducing unique experience not just a specific place for amusement.

In the end, there is the continuing challenge among museums to cater towards free learning. As society continues to modernize, Falk, Dierking and Adams argue that these institutions must also respond to the needs of the public by offering something new and innovative. Such approach can then establish their significance and worth in the continuously changing society in their response to new information and learning.

The article deals with the negative effects of media, specifically the stereotypes shown on television. Viewers do not accurately interpret the messages shown on television.  Television shows present a variety of gender and racial stereotypes that leave a negative impact on its viewers because these stereotypes have negative connotations. Women, for instance, are normally portrayed as  sensitive, nave, weak, emotional and constantly seeking for love.  Television also packages various races in negatively inaccurate ways Asian Americans, for example, are portrayed as unattractive nerds. In this manner, television contributes to racism, violence and various disorders among women such as eating disorders.

Various stereotypes are manifested in The OC, a teenage drama television series revolving around the lives of teenagers and their families who live in the Orange County. Ryan Atwood, one of the main characters in the show, is a teenager from Chino who was arrested for stealing a car. He had to pretend that he was the Cohens cousin who was visiting from Boston because it was what the Orange County circle found acceptable. Sandy, Ryans lawyer and acting guardian, openly accepted Ryan but his wife Kirsten had doubts of accommodating a teenager with a criminal record. Sandys son, Seth, did not seem to have biases against Ryan but when he found his love interest clinging on to Ryan, he humiliated him by revealing the truth about his past in public. Summer Roberts, Seths crush, immediately changed her feelings toward Ryan because he came from Chino. Ryan became a victim of stereotyping because people believed that those who come from Chino are criminals.

Seth was also a victim of stereotyping.  As an awkward and nerdy teenager, he had a difficult time relating to his peers. In one scene, he did not want to socialize with the other teenagers so he sat with the children. After walking out on Ryan, he proceeded to the beach where he was beaten up by a group of boys because he was an outcast.  The teenagers never saw the better side of Seth, except Ryan and his own parents.

Marissa and Summer are two of the biggest stereotypes in this show. They are part of the popular clique because they are beautiful and rich. People perceive them to be almost perfect.  Unfortunately, they did not see past the girls beautiful appearance and wealth. Marissa, for instance, was constantly battling alcoholism, anorexia and substance abuse. Her family was far from perfect and her relationships were often tumultuous.  Summer, on the other hand, put up a catty, snobbish front to conceal her insecurities and keep up with the lifestyle of her circle.

As the article said,  appearance is potentially the highest concern among teenagers and women  (Author, 3). As a result,  eating disorders and an excessive fixation of personal appearance have become common among women and teenagers.  Stereotypes have ingrained a distorted notion of perfection in television viewers.  Television and other forms of media have proven to be a powerful influence in shaping minds, especially the young ones.  Stereotypes also have the power to instill inaccurate impressions of people from different races and different socio-economic backgrounds.  Consequently, people who come from the minority group or those who have a lower social status are often oppressed because of the  inaccurate pictures that media paint about them.  This is due to the fact that viewers do not know how to draw the line between fantasy and reality because they have been  desensitized by media  (Author, 1) the stereotypes have become a normal part of their lives. Overall, television has proven to be powerful in shaping minds and nowadays, it seems as if television is controlling the viewers, when it should be the other way around.  The viewers should be discerning when watching television and must know the difference between reality and fantasy because stereotypes normally just exhibit one aspect of a person.

The painting of The Last Judgment by Michelangelo was a fresco which was executed between 1537 and 1541 at the behest of Pope Julius II who commissioned Michelangelo to perform the task.  This scene is based on the passage in the Bible on what would happen when Christ would come again.  Both the living and the dead, who would be raised then, will be judged by Christ and their fates would be determined if they are going to heaven or hell.  The artwork was done on freshly spread lime plaster that was still moist with water-based pigments. Michelangelos palette developed highly embellished monochromatic work and the symmetry of his figures made it appear broader and more threatening, if not intimidating to the uninitiated, intended to evoke a sense of awe to anyone who would view it.

This large, solid and heavy wall painting can be viewed behind the altar wall of the Sistine Chapel in Vatican City and it took Michelangelo more than four years to complete this masterpiece which was a break from the usual sculptures he used to do where he had made outstanding works such as David, Pieta and Moses as he dabbled with the concept of mural painting which was probably the largest masterpiece he had ever done in his life as The Last Judgment formed part of the vast murals that adorn the walls of the chapel which is the Popes private chapel and at present, a place with significance as this is where Popes are chosen during conclaves and The Last Judgment is considered an appropriate artwork to adorn the altar of this historic chapel for such an occasion.
         
The ideas and sense of appreciation from the painting itself depicts the individuality of every personality on the artwork. They each have varied deep explanations of every detail in the painting. Explanation is on the basis of their own experiences in relation to the painting and to themselves. Each dimension of this painting has its own perspective to present making it open to various interpretations. Ones eyes have to move from the center going up then look down after in analyzing overall the images then breaking it down to individual parts. The meticulous ones would be made to zoom in to see the every little detail, thinking whether it has connection or relevance with other images.

The painting itself provides varied insights and explanations allowing for varied ways to comprehend the painting. For instance, the angels in the middle of the paintings are depicted blowing their trumpets to raise the dead, shown on the lower left-hand side of the painting, from their long deep slumber to prepare them for their appointment with God. Two of them, apparently the archangels Michael and Gabriel are seen holding the two books in which all has been written down about the individuals where Jesus will base his judgment. The smaller book contains the names of the ones to be saved while the larger one contains the names of the damned (Michelangelo Ruehling). This is consistent to what is stated in the Gospel according to Matthew.  A similar passage would be also stated in the Book of Revelation (Rev. 2011-15)

When the Son of Man comes in his glory, escorted by all the angels in heaven, he will sit upon his royal throne, and all nations will be assembled before him.  Then he will separate them into two groups, as a shepherd separates sheep from goats. The sheep he will place on his right hand, the goats on his left (Matt. 2531-33).

On the left panel, the chosen ones situated on the right side of Christ, those who had been judged worthy are escorted to heaven by the angels where they would live eternal bliss with the Almighty. The right panel, on the left of Christ shows the damned, the ones deemed unworthy and proven to now have repented their sins, are being led to hell where they would suffer eternal damnation (Michelangelo).

Besides the Bible, Michelangelo got his inspiration for making his artwork from Dante Alighieris Inferno as it provided him with graphic detail or has enabled him to flesh out the scenes he would be depicting. In addition, he added personalities and characters from Greek and Roman mythology as part of his fleshing out of the scenes (Barnes 1).  One would be able to recognize Charon (holding an oar), the ferryman of Hades of the Greek mythology as he and his minions are seen leading the damned to be judged before Minos found at the extreme lower right-hand corner with a snake wrapped around his body. Minos is another figure in Greek mythology where he was the king of Crete but in this case and using artistic license, Michelangelo depicts the Cretan king as the ruler of hell instead of using Hades or Satan.

Jesus is situated in the middle, befitting his stature as the King of Kings with his mother Mary at His side. The two large figures flanking Christ are the disciples Saints John the Baptist on the left and Peter on the right, depicted with keys of heaven in his hand. The figure underneath and further right of Jesus is another disciple Saint Bartholomew, whose image is a self-portrait by Michelangelo himself. Also included are most of the saints who were martyred.  They are seen in the painting holding the instruments of their martyrdom such as Saint Sebastian holding arrows used to kill him Saint Blaise, holding iron combs used to torture him to death and Saint Bartholomew holding his skin, underscoring how he was flayed (skinned alive) to death by his tormentors (Michelangelo).

Above the lunettes are symbols of the Passion of Christ which are the cross, the crown of thorns, the pillar where Jesus was bound and scourged, the spear that was used by Longinus to stab his side, and the sponge dipped in vinegar and hyssop used to sate Christs thirst while hanging on the cross. In terms of scale, technique and drama The Last Judgment is an absolute highlight of Renaissance painting as one can see the humanist approach taken by Michelangelo that showed a return to the classical style of Greco-Roman influence and a complete departure from the medieval style which was formless and lacking depth.  Originally, most of the images were depicted in the nude but owing to the sanctity of the place, a certain degree of modesty and decency was exercised and it fell upon Michelangelos assistant, Daniele de Volterra to edit the painting by covering the private parts in such a way that it did not compromise the intention of his mentor to depict the well-proportioned bodies of his subjects (Barnes 88).

Jesus Christ
Physically, Michelangelo depicted Christ with broad, powerful proportions, appearing in a radiant glow of divine light befitting His place as the Son of God and King of Kings. Michelangelo further accentuated this radiance by painting the figure in a section that is best illuminated by the chapels window for special effect. Christ is portrayed barely clothed and bare-legged instead of being majestic as one would expect in his Second Coming, wearing only a long strip of cloth across his loins in a manner in order to reveal the wounds of his crucifixion  the puncture wounds on his hands and feet where the nails were driven and the wound on his side where the spear was thrust. These not only emphasize his passion as well but also resonates images of his resurrection, proving once and for all that he had conquered death and has redeemed mankind from the wages of sin and thereby emphasizing his undisputed position as the ultimate judge of mankind (Ruehring).

Despite the rather modest image of Christ, Michelangelo still managed to evoke a powerful image of Jesus as final judgment is being carried out without fear or reservation in order to justly and ultimately determine who deserves to be punished and committed to hell. Michelangelo depicted Christ in such a way to express the righteous anger of promptness and firmness in passing judgment towards the individual, further reminding one of the fate that awaits when that time really comes. The painting also depicts the Blessed Virgin Mary seated beside Christ.  Mary is regarded by Catholics as a great intercessor for anyone seeking solace or succor in times of trouble.  In this particular case, she appears to be downcast as her head appears to turn away as a sign of resignation which implies that she could no longer intercede for anyone at this point in time and can only be a spectator witnessing the judgment of mankind (Michelangelo Ruehring).

Minos
At the lower right-hand corner of The Last Judgment is Minos, whom Michelangelo depicts as the king of hell instead of Satan. It can be inferred here that Michelangelo employed artistic license in using a different character to be the ruler of hell and he drew his inspiration from Dantes work Inferno where Minos is depicted as the king of hell (Alighieri 23,75).  He is shown with a serpent wound tightly around him, symbolizing the circle of hell. Michelangelos physical depiction of Minos also served for him as a stinging caricature against his enemy Biagio da Cesena, then the Popes chamberlain, as a way of getting back at him for saying his painting was not worthy to adorn the walls of the Vatican despite the commission from the Pope.  Michelangelos spite was very evident as he tried to depict Minos in the most hideous way possible complete with asss ears and a serpent striking his genitalia as a form of revenge against his nemesis whom he could not physically harm owing to his stature in the Vatican (Ruehring).  

Charon
Michelangelo borrowed another character from Dantes work and Greek mythology in Charon, the boatman who ferries the souls of the dead across the River Styx leading to Hades though in this case, it is hell. Physically, Charon is depicted hideously with dark skin, thick dark hair, pointed ears, bulging and glowing eyes, giving him a devil-like appearance, short of depicting him as an actual demon. He is depicted herding the darkly gaunt and tortured souls as they spill upon the shores of hell. Michelangelo has truly captured Charon as an agent of hell in this painting and seamlessly combining classical (Greek) mythology with Christianity to come up with a very strong image (Barnes 108, 113).

All in all, The Last Judgment can be truly be called a masterpiece by Michelangelo.  He had done justice to the work and in a way, rendered great service to the Church by blending horrors and beauty of condemnation and redemption, all these wonderfully captured in his painting.

Answer to Question Number One
The narrative occupies a pivotal role in Western art as it functions as the unchanging element that enables the unification and hence the coherence of the different forms and types of art that has emerged and is considered a part of its category. Narratives role in unifying the different genres of Western art is specifically evident in its role in the creation and reception of Western abstract art. In the evolution of Western art, the initial adherence to the mimetic tradition, which entailed providing a detailed and accurate representation and portrayal of reality, was shifted to the focus on abstractions. Worringer (1910) provides one of the reasons behind this shift to abstractions as he argues that only by shifting to abstractions will man have access to art in its purest form. He argues that the other forms of art such as expressionism merely provide man with empathic experiences towards art. He states, Modern aesthetics, which proceeds from the concept of empathy, is inapplicable to wide tracts of art history. Its Archimedean point is situated at one pole of human artistic feeling alone (1910, p.68). In order to account for the other pole of aesthetic experience, Worringer (1910) argues that there is a necessity to adhere to abstractions, which focuses on the form of art alone.

In the same manner that Worringer criticizes the limited conception of art provided by other art theories, Greenberg in his essay entitled Avant-Garde and Kitsch, challenges the very core of the aforementioned characterizations of art and the artist. This is apparent as he claims, One and the same civilization produces simultaneously two different such things as a poem by T. S. Eliot and a Tin Pan Alley song, or a painting by Braque and a Saturday Evening Post cover (1939, p.530). In as far as classical art is concerned, specifically visual art, it can be said that for a very long period, it has been characterized by its adherence to the mimetic tradition. Such being the case, abstract art, in as far as it deviates from such tradition may be seen as an altogether different art form expressing a different artistic culture. In a manner of speaking, abstract art and culture as Greenberg envisions it, is revolutionary in the sense that it defies against the prevailing standards of society (1939, p.531). Such defiance, on the part of the abstract art is tantamount to detaching itself from society. It is important to note that the importance of such defiance is that it allowed for the possibility of bringing to the fore abstract arts true and most important function. In line with this, Greenberg wrote the following
Hence, it developed that the true and most important function of the avant-garde was not to experiment, but to find a path along which it would be possible to keep culture moving in the midst of ideological confusion and violence. (1939, p.531)

By performing this function, abstract art was able to manifest that it is possible to envision art separate from any other form of reference, as it exists for its own sake. This view is apparent as he emphasizes the importance of pursuing art for its own sake. An example of this can be seen in Pollocks abstract expressionism, which manifests examples of action painting. Pollocks works portray the possibility of creating an artwork, which is capable of standing on its own separate from other forms of signification in its environment. Pollocks abstract art, in this sense, portrays the possibility of creating an artwork, which is independent from what Worringer conceives as empathy as its construction is only based on its adherence to a particular narrative form, which emphasizes the artists creation of an artwork.

Within this context, narrative plays a pivotal role in the creation and proliferation of abstract art as it stood as the unifying element that allowed the different forms of abstract art to be united within one category.

Answer to Question Number Two
Within the context of Marxism, art is a product of the social and political conditions in society. Art thereby serves as a mirror of the social conditions in society. Such a view of the relationship between art and society may be implicitly derived from Marxs Private Property and Communism as he forwards the following claim

Just as society itself produces man as man, so it is produced by him. Activity and consumption both in their content and in their mode of existence, are social activity and social consumption. The human essence of nature exists only for social man for only here does nature exist for him as a bond with other men, as his existence for others and their existence for him, as the vital element of human reality only here does it exist as the basis of his own human existence. (n.d., p.213)

Marxs claims regarding the co-dependence of society and human beings implicitly shows the importance of artworks in determining and understanding the dominant ideology in society. Such is the case since the production of artworks as well as the production of the meanings associated to both old and new artworks portrays how the dominant ideology in society seeks to change the factual elements in social reality. In other words, views pertaining to art show how a specific belief system has transfigured reality in order to propagate as well as maintain social beliefs.

In the case of modern art, this is apparent in its emphasis on the necessity to traverse boundaries in order to prevent its curtailment within the widely capitalist driven social sphere. Modern art which is equated with the avant-garde is criticized by the different versions of aesthetic schools that affiliate themselves with Marxism. These different schools, that being the Bauhaus School, the Constructivists, and the Muralists all agree that despite modern arts desire to disassociate itself from the grasp of a capitalist driven society, it remains bound by that which it refuses to associate itself as it practices an elitist framework comparable to a bourgeoisie framework that refuses and even prevents arts accessibility to those who are not learned in artistic theories (Rivera, 1932 Rodchenko, 1986 Gropius, 1938).  Despite this similarity, these different schools differ in their attempts to redefine modern art.

In the case of the Bauhaus School, its members argued that modern art involves the union of both form and content (Gropius, 1938). Gropius created a building that exemplifies this view, namely the Bauhaus building in Germany. The building was meant to portray the credo of the Bauhaus School which states, The Bauhaus strives to coordinate all creative effort, to achieve, in a new architecture, the unification of all training in art and design(for) the collective work of art(Gropius, 1938, p.340). As opposed to this, the Constructivists argued that modern art ought to be envisioned as art that promotes life (Rodchenko, 1986). To promote life here entails developing awareness, experience, purpose, construction, technique and mathematics which ensures mans realization of his being and hence actualization of his life (Rodchencko, 1986). Finally, the muralists equated modern art with proletariat art wherein proletariat art refers to art which mirrors and portray the aspirations, desires, and hopes of all people and not only a few (Rodchenko, 1986).  Amongst these different Marxists views of modern art, it is mural art which takes an evident direct precedent from Marxs theory as it emphasizes the bourgeoisies emphasis in controlling the means of transfiguring reality, that the artworld.

Answer to Question Number Three
Marcel Duchamp may be considered as the first appropriation artist with his concept of readymades (1961, p.819). The ready-mades are ordinary, everyday objects that are transformed into a piece of art simply by claiming that it is a work of art (Duchamp, 1961, p.819). An example of a readymade is Duchamps The Fountain, which is an ordinary urinal laying on its side atop a pedestal with the signature R. Mutt. In the aforementioned work, the urinal as it appears is neither original nor rare. Creativity in this sense lies in the selection of an ordinary urinal as a work of art and displaying it in an artistic context. His artworks were recognized and became influential to succeeding artists who pursued appropriation art or installation art. The Dada art movement, along with Duchamp, continued appropriating readymades and fused together elements of chance, randomness and lack of formal structure or theory in their creations. It is, however, important to note that Duchamp himself has no particular interest in discussing his works apparently because there is nothing in them that makes them works of art. This is to say that those objects do not share or possess within them an essential property for them to be categorized as beautiful and be considered members of the extension of such a concept. This is a plausible construal of his silence and disinterestedness in aesthetic theory.

This silence however may be explained by providing his views on art as it is specified in The Creative Act wherein he argues that the creation of art entails the active participation of both the artist and the works spectator (1957, p.818). He states, The creative act is not performed by the artist alone the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act (Duchamp, 1957, p.819). Apparently, Duchamps view of art is one that is expressive in the sense that an art work is an individuals expression and this expression is not an end-in-itself but a means to something else since it must lead the individual to new thoughts, new perspectives and new ways of looking at the same world. Perhaps, this is what he meant when he claims that art is a creative act (Duchamp, 1957, p.819).

Duchamp and the Dadaists share the same view about the intellectual rigidity in art and artistic movements. In addition to this, they were also reacting to the constraining conservative arm of society. This is to say that their emphasis on everyday objects also has a political import. Two common themes may be said to characterize their artistic creations (1) the apparent irrationality, as an opposition to the conservative forms of art and (2) a refusal to adopt a standard of what would count as an artwork.

Within this context, Duchamps aesthetic theory, if one may classify it as such, enabled the development of the ideas of dematerialization, hybridized form, and non-traditional media as important aspects in the creation of culture as he emphasized that every connotation associated to an object is a product of social consensus. By dematerializing his artwork as he disassociated the usual connotations associated with objects, Duchamp along with the Dadaists created hybrid forms of objects which are results of the combination of new senses to specific referents. This processes of dematerialization and hybridization created a non-traditional media as it disassociates the work from the artist thereby creating a continuously evolving work of art, the evolution of which is apparent in the continuous addition of different and even opposing connotations to a work of art. As Ball claims, The new art is sympathetic because in an age of total disruption it has conserved the will-to-the image because it is inclined to force the image, even through the means and parts to be antagonistic (1927, p.247). In other word, the new art enabled by the Dadaists allowed the continuous introduction of various different and opposing views not only towards works of art but also towards social institutions.

Answer to Question Number Four
Art works can be considered as products of a shared history of different societies in their different periods of development. The artist, very much like the works he creates, can also be considered as a product of his different contexts. These statements point out that artworks and artists are always situated or indexed to a particular context, in a particular period in history. This is not to say that the artist and the artworks merely reflect the social, political, economic, and even intellectual contexts of their time. While it is true that the artist is, to a certain extent, conditioned by his contexts, the artist can go beyond these contexts and articulate or bring to existence a new way of looking at things.
In the art world, a fine example of transcending these contexts can be seen in the development of Impressionism and Expressionism. It is important to note that impressionism is in itself, a revolt from its very own contexts. Impressionists, unlike Rene Descartes solitary ego, consider the self as always situated in space and time, bombarded and affected by a multitude of impressions. Whereas Descartes puts premium on the perceiver or the subject, the impressionists put premium on the very act of perceiving. The act of perception is more important than either the perceived or the perceiver (Kronegger, 1973, p. 40). Such being the case, for the impressionists like Charles Baudelaire, an artist is best characterized as a flaneur, a keen observer of modern life, who puts into canvass or into words the multitude of impressions in the everyday affairs of real human beings caught up in the paradoxes of human existence. The paradox is that the while the artist finds himself struggling against the status quo, he inevitably finds himself participating on it at the same time.

Expressionists, on many counts, disagree with impressionists on the very nature and function of art in human life. For expressionists like Hermann Bahr, Charles Baudelaires characterization of the artist as flaneur brings to the fore the unfortunate idea that the artist merely records what heshe observes nothing more, nothing less. If this is the case, the artist is no different from the empirical scientist who merely records observable data in his investigation. Expressionism can be characterized by a yearning or longing for soul, an element which is perhaps, lost in the maze of modernity. Such being the case, expressionists consider that one of the main functions of art is social criticism. The artist, however, does not stop at social criticism. He is willing to do something about it.

The dialectic relationship between impressionism and expressionism is thus made clear. Though they are not completely diametrically opposing views, their differences are difficult to reconcile. First, they have different views on artistic production itself. Does the artist merely record impressions in the same way as a gramophone records sounds For the expressionist, the clear answer is, No. Second, although both impressionism and expressionism can provide us with fertile grounds for critiquing modernity, the formers passivity on the role of the artist and the function of art does not sit well with the latters. To elucidate, expressionists like Bahr conceives of modernity as destructive of the human spirit and this is a form of judgment, an assessment of the value or worth of something whereas, impressionists merely observe and record impressions. It is for this reason that expressionists yearn for the soul. Expressionism is the symbol of the unknown in us in which we confide, hoping that it will save us (Bahr, 2003, p. 116).

While art is often considered as an artists expression of his or her own unique ideas, perspectives, and interpretations, it is still undeniable that art is also appreciated and evaluated from a public or societal point of view. As a matter of fact, throughout history, art always had a purpose or meaning in society furthermore, aspects such as history and culture of course result in a diverse view of art as further defined according to region or location (Kleiner 69). In this sense, as an artist, it would be important to define ones world view in relation to art as well as to assess whether other more established artists or groups either share a similar stance or exhibit a distinct approach. In relation to this, it would be appropriate to assume established artists or groups have acquired greater acceptance, applause, or attention for their work from the society which may even be from a global perspective. Also, aside from comparing ones work with the accomplishments of more established individuals, it would be beneficial to further expound upon ones philosophy in art. Therefore, through both a comparative and reflective approach, it would be possible to learn more about my current state and development as an artist.      

Defining My Art
Prior to comparing and contrasting the art of a more established group with mine, it would be most appropriate to first provide an overview of my own artistic creations. As seen in Appendix A, Squares and Circles which is basically made from wood and paint criticizes the simplistic and straightforward manner in which individuals comprehend objects or notions around them. To further expound, while it is evident throughout society that upon hearing of great numbers people would immediately equate it with great mass or size, such a manner of thinking would only result to hasty generalizations and improper conclusions. In this sense, Squares and Circles does describe measurements but instead does so in a manner which is definitely not straightforward. Hence, those who would attempt to understand the piece would need to set aside usual notions regarding number and size in fact, appreciating Squares and Circles would entirely bring forth a need to detach ones self from a logical perspective and instead assuming a relative or interpretative view. In essence, while objects such as numbers and measurements are utilized, the piece initiates the need to appreciate art subjectively rather than logically without doubt, the importance of being able to manipulate ones approaches and views according to purpose or context should not be forgotten.

Another critique of modern day human tendency is expressed in Smores, constructed from cotton, sponge, and steel, as may be seen from Appendix B. To explain, making or acquiring smores has undergone significant changes throughout the decades as simplicity and convenience has been the apparent theme of modernization. In fact, aside from being able to purchase readily made smores requiring minimal effort prior to being eaten, the common means of roasting the marshmallow on the campfire prior to being sandwiched between crackers and chocolate is already a symbol of both a lack of attention to detail as well as the dwindling emphasis upon precision and effort. It would be appropriate to assume that many still know of the best way to make the most ideal smores, which is to meticulously heat the assembled crackers, marshmallow, and chocolate on the campfire through the use of a stick. The aforesaid means of making smores is highlighted in Smores. In general, while such a meaning may not be apparent from a quick glance of the piece, from a personal perspective it is an ideal representation of the lack of emphasis and importance placed upon time, effort, and precision in todays fast paced world.

In Appendix C, the Process of Pyramid as made from cardboard expresses the importance of process. Being a process art, the steps accomplished prior to completion instead of the actual structure is focused upon. To further expound, the pyramid is among the most perplexing structural wonders made by ancient civilizations, which up to now have not been fully understood by scholars in terms of how such were possibly built. Of course, in attempting to discover the secrets of the pyramid, it would be necessary to entirely assess the manner in which each of its parts have been built and utilized to develop the whole. In turn, modern day society in general has evidently placed a limited focus upon the importance of a proper process and instead highly praises means of acquiring the end product through the easiest means possible. Hence, in effect, it would be appropriate to assume that individuals are affected detrimentally by such a mindset as they become less critical of the occurrences throughout their surroundings. While being complacent may be viewed as beneficial since anarchy would definitely not result from such, being overly complacent and not using ones mind would also be counterproductive to the pursuit of furthering society.        

The fourth and last work, as seen in Appendix D, is constructed from plaster, sand, and paint. The reason as to why the piece is untitled is that it represents any individual in a similar sense, it may also be perceived as a collective presentation of society. To further explain, it represents the manner in which the human spirit has been continuously disregarded in modern society in favor of intellectual capability and potential. In general, my works as mentioned and discussed above maintained as well as embodied meaning amidst simplicity. Instead of focusing upon the use of specific materials, I try to utilize a diverse assortment of such albeit not necessarily leading to excess and unnecessary inclusions. The materials chosen do not have any symbolic representations and are also chosen based upon accessibility. As one may realize from the discussions above, my art is certainly a manifestation or extension of my own views and are as a whole often symbolically pertaining to unnoticed or disregarded concerns in society. In essence, I do believe that the changes brought forth by technology and globalization has resulted in numerous repercussions especially in relation to mental and spiritual identities of individuals or the population as a whole.

Compare and Contrast, Establishing Distinction
After having established a suitable overview of my work and its meaning, it would now be appropriate to establish a comparison between my art and the art of a more established group which in this case is Bulgarias 71. Having existed since 1997, the 71 Visual Arts Association have definitely made their presence known in the aforesaid country as they have been involved with numerous projects and large-scale exhibits interestingly, the focus of the groups art is considered to be the interconnection between societal and physical aspects inspiring the creation of relatively large structures (Tsvetkov et al.). Of course, in order to expound upon the details of the aforementioned groups approach in art, it would be necessary to discuss a few examples of their works. In Appendix E, Membrane which is made from transparent wraps precisely arranged and overlapping manner to block the path may be seen specifically, the structure formed from the transparent wraps is seemingly in-apparent yet a significant obstruction to separate the two locations symbolically representing expectable changes or shifts from order to disorder (Nikolchev et al. Membrane). Hence, it is quite obvious that the group is also without doubt inclined towards the analysis of societal issues and phenomena as well.

Another interesting piece by the abovementioned group is referred to as the Blur, in which synthetic nets are the main material used to further expound, the structure allows for an actual or physical means of achieving the same effect as the blur tool common seen among graphics editing software which highlights a view wherein a greater immersion in the appreciation of art may be achieved by an individual situated between the nets while viewing paintings in a gallery (Nikolchev et al. Blur). From such details regarding the structure or 71s accomplishment, it becomes evident that not all their works embody social criticism or phenomena. In particular, works such as Blur, merely emphasize visual or aesthetic possibilities. Even though the aforesaid work represents immersion, it is of course apparent that such a symbolic appeal does not necessarily pertain to a specific societal issue or viewpoint and instead is more indicative of a pursuit to manipulate the physical aspects of perception. In this sense, from such aspects alone, it would not be a challenging endeavor to differentiate my art from 71s. Specifically, the most suitable aspects upon which the two may be compared and contrasted are as follows meaning, scale, material, and style.

In terms of meaning, my art so far is exclusively a critique or reflection of concerns which I believe are ensuing in modern day society on the other hand 71s works either represent a common occurrence in society or at times may simply be considered as a manipulation of physical aspects such as space to achieve a certain visual effect. In this sense, it may be appropriately assumed or even concluded that my art is more inclined towards representation and symbolism while 71s art may either assume a similar trend or may basically be made to achieve aesthetic effects and value. In addition to such differences, it is also essential to determine whether scale may also be considered as a point of dissimilarity. Without doubt, the scale in which 71 creates structures such as those pointed out above easily dwarfs my own works. However, I do not necessarily place a constraint in the size of my creations but of course limitations in terms of working space and the availability or supply of materials result into works of minimal scale. In relation to this, planning to utilize or manipulate wide spaces such as in 71s works or structures is not necessarily a realistic endeavor from a personal perspective. Nevertheless, if given the opportunity, creating works of such scale to depict my views on societal issues would definitely be an interesting endeavor.

There are of course similarities between my art and 71s. One of the most apparent being in terms of how materials are selected. Both my works and 71s structures are indicative of a myriad of different materials, wherein no specific trend or bias towards the use of a single or a few materials may be seen. In my case though, such diversity in the use of materials merely explain my attempts to broaden my experience however, in terms of 71s structures, it is quite evident that materials are selected, while not always the same, according to its applicability for building the end product. Also, a similarity may be identified in terms of approach or style in presenting a meaning or message through art to further expound, my works albeit seemingly simplistic is representative of an ensuing problem in society while some of 71s works exhibit a similar role. While appreciating such works of art from a generalized or entirely aesthetic perspective may be possible, it would be necessary to understand the innate symbolism present in order to entirely comprehend such.  Despite such similarities though, it would be appropriate to point out that my art requires a deeper analysis for the meanings are much more elusive due to the aforesaid simplicity in form in a sense, my works may be likened to a nursery rhyme which contains encrypted information.                                                

Philosophy, Concept, and Interpretation
Throughout the previous discussion, it has become undeniable that my art is an extension of my own perspectives regarding society and in a way serves as my means of criticizing certain aspects of the modern age. In relation to this, it would be appropriate to note that while art may be a manifestation of ones skills there is certainly more to its creation than mere appreciation. In fact, Walter Benjamin pointed out in his writings that while art has a ritualistic aspect, it is the reproducibility and availability of art which brings forth its political nature (Price 64). In terms of my works, the possibility of allowing individuals to view images of the work even with the lack of an opportunity to view the real object provides an appropriate span of time for analysis and understanding in essence, as the number of individuals who may view my works would increase through the use of modern technology, those who would be able to comprehend its societal themes would further increase as well. From a personal perspective, meanings are the most vital aspect of art which should not be superseded by aesthetic value. Instead of providing amusement and comfort, art must assume the role of making individuals realize the presence and severity of contemporary concerns which are often disregarded despite being quite apparent.    

As Bataille claims that meaning cannot be lost or destroyed despite the presence of sacrifice (Boldt-Irons 224), in parallel the same may be said for an individuals knowledge of the concerns of present throughout society. Thus, if evident representations or messages regarding such problems are not sufficient in reawakening ones thoughts, then the creation of works of art which induce analysis and interpretation may be the best means for such a goal. As noted beforehand, my art represents the detrimental changes that modernization and globalization have brought forth to society in general historically, people are not limited or defined according to convenience or the pace of life and in effect are able to grow and mature individually from a holistic perspective. However, as noted beforehand, individuals are currently facing problems regarding the capability to adapt to and comprehend issues as well as accomplishing the pursuit of defining ones self mentally and spiritually. Losing or not achieving such potential and eventually succumbing to the lack of self-identity due to the necessity to follow global needs and trends, is similar to Fanons concerns on colonialism. Despite the fact an individual may reside in the country wherein he or she was born, depersonalization as brought forth by colonialism still deprives the individual of self-identity as it is manipulated by a few (Bhaba 58).        
It is appropriate to state that Art is as much a manifestation of individuality as it is a symbol of a regions culture. Through my work, I encourage people to once again value their own potential and growth and focus upon defining themselves. In contrast to generic images or representations of success and survival, which mainly come in the form of financial capability and managing life at the pace of modern society, people should learn to form their own aspirations and learn through their own capabilities and approaches in thinking. In this sense, my art may also be considered as my own attempt in defining myself and accomplishing tasks with a critical perspective so as to maintain social and self awareness. Despite not being entirely of high standards in terms of aesthetic value, it is important that my works still serve as an undeniable extension of my individuality and unique ability as an artist. Thus, my current approach in art is without doubt my own means of providing the fact that fulfillment and meaning would only come forth to those who do not allow themselves to be defined by the inappropriate trends in modern society my art, or the messages that it embodies, represents myself as it is a reflection or a symbol of who I am, one who is always vigilant in maintaining my own ways and directing my life through my own will.

Conclusion
Throughout the discussion, it became clear that my art is a symbolic manifestation of my own views and beliefs. Instead of merely being considered as art for the purpose of aesthetics, my art may be best considered a criticism of the modern global society as possibly brought forth by both modernization and colonialism. Interestingly, there are art groups which share a similar perspective in art albeit not entirely. To explain, while 71s structures are at times indicative of a deeper meaning reflects societal themes, some of their accomplishments may still be considered as mainly for the purpose of visual stimulation or aesthetic enhancement. While I am proud of my current stance as an artist, 71s combination of works for different purposes or aims highlight one of my greatest doubts. Upon becoming a professional artist, would it be possible that altering my stance to a degree, to fit the demands of modern society and the world, would be necessary to also gain acceptance and success.