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雷恩消防队队员名字:Connection and differ

時間:2019-09-09 10:20來源:未知 作者:anne 點擊:
作業要求: Write a 1-page double-spaced, statement about the connections between the ideas in the Kwon reading and the ideas in the Komar and Melamid reading. What do they share in common; how do they differ? EMAIL ME THIS STATEMENT ON OR BEFORE
作業要求:
Write a 1-page double-spaced, statement about the connections
 between the ideas in the Kwon reading and the ideas in the
 Komar and Melamid reading. What do they share in common; how
 do they differ? EMAIL ME THIS STATEMENT ON OR BEFORE NEXT
TUESDAY NIGHT AT 11:59PM (OCT 23)
Bring your two readings (Kwon and Komar & Melamid) back to
class so I can collect them to grade your annotations.
 
What do they share in common?他們有什么共同點?
在庫馬爾和我瘸腿的作品中,凱旋的風格,獨裁者流行的建筑框架取代了自然框架;人工光取代了自然光;身著“將軍”制服的巨大身軀取代了年輕的裸體希臘英雄?;婊魑恢職男形勻淮嬖?,但它對意義的轉換往往是弗洛伊德“轉換”的產物,這完全改變了它的意義;愛已經變成了奉承。蘇維?;業淖⑹徒峁咕拖褚桓鑫淖鐘蝸?,必須用兩種不同但互補的方式來解釋。第一種是使用前蘇聯系統藝術家使用的象征性語言:用左手畫畫或寫字,表明他們不相信成品的審美價值,他們的創作不是權宜之計,就是被迫的。第二個暗示更加文學化,或者說更加理性,涉及到知識分子的語言:左手不僅是一個實踐“左手”藝術的藝術家,而且是揭示事物真實本質的左手:這里它指的是這個清晰陰影的黑暗、邪惡的一面。
In the works of Kumar and ME lamed, the triumphant style of the triumphant, the architecture frame popular with the dictator replaced the natural frame; the artificial light replaced the natural light; the huge body in the uniform of the "general" replaced the young naked Greek hero. Painting still exists as an act of love, but its conversions of meaning are often the product of Freudian "conversions", which completely change its meaning; love has become fawning. The annotation structure of Soviet painters is like a word game, which must be interpreted in two different but complementary ways. The first uses the symbolic language used by artists of the former Soviet system: drawing or writing with the left hand indicates that they do not believe in the aesthetic value of the finished work, and that their creation is either expedient or forced. The second hint is more literary, or more rational, and involves the language of intellectuals: the left hand is not only an artist practicing the art of the "left", but it is also the left hand that reveals the true nature of things: here it refers to the dark, evil side of this clear-cut shadow.
以“地方性”概念為核心,郭美美探討了藝術作品與其所處環境之間可能存在的關系,以及由此產生的美學、批判和倫理問題。Miwok Kwon認為,“地方”一詞沒有被一些主流文化機構批判性地吸收和使用,從而降低了它的藝術和政治功效,成為一種“問題觀念”。藝術家、策展人和評論家對本土藝術進行了批評和質疑,產生了“特定場景的藝術”或“特定受眾的藝術”等一系列新的表現形式,破壞了“本土”概念的穩定性。郭美美意識到,由于歷史和理論基礎的缺乏以及現有藝術體系的局限性,本土藝術已經成為主流藝術研究領域中一個薄弱而零散的理論研究領域。
With the concept of "locality" as the core, Miwok Kwon discusses the possible relationships between works of art and their situations, as well as the aesthetic, critical and ethical issues arising therefrom. Miwok Kwon believed that the word "locality" was not critically absorbed and used by some mainstream cultural institutions, thereby reducing its artistic and political efficacy and becoming a "problem-idea". Artists, curators and critics have criticized and questioned local art, leading to a series of new expressions, such as "art in a particular scene" or "art with a specific audience", thus undermining the stability of the concept of "locality". Miwok Kwon realized that due to the lack of history and theoretical basis and the limitations of the existing art system, local art has become a weak and scattered theoretical research field in the mainstream art research field.
How do they differ?它們有何不同?
KumarandMalamud’s attitude is very ambiguous. In the whole series of "nostalgic socialist realism", almost the same as this work, from the works are very orthodox, classical, rigorous, no pop, no hippy. The work of the Kremlin (View of the Kremlin in a Romantic Landscape, 1981-1982) is more like "sublimation" than "deconstruction." Of course, they also have less serious works, such as this self-portrait of Vincent van Gogh, The Portrait of the World Leader who Cuts His Right Ear (Arles, Portraits of World Leaders with Right Ear Cut Off, 1978)。
In addition, she takes "culture in action" as a case to show the transformation and development of public art from "locality" to "community". The event was held in Chicago in 1993 to propose a new genre of public art that seeks greater participation of urban community residents in (public) art. "Culture in Action" is a typical case showing the contradiction between public art system standards and the public and community. It criticizes the Chicago Sculpture Organization and realizes greater artistic democratization by intervening in public space.Miwon Kwon summed up the three forms of public art, corresponding to the three paradigms of locality. Firstly, the art of public space, that is, the works of famous artists in museums and galleries are enlarged, reproduced and transplanted into public space; secondly, the public space of art, mainly embodied by sculptures of urban furniture; and secondly, the public art of community participation characterized by activities. In fact, public art is often classified by critics as "art of the earth" or "art out of the base". It is more a decoration to beautify urban space than a way to enhance and create urban image or architectural features. In response, the National Arts Foundation incorporates local features into the guidelines of public art creation in order to achieve the urban benefits of public art, requiring artists to pay more attention to the urban environment, design the coherence of urban space, and thus obtain more socially valuable works of art.
Miwok Kwon defined "culture in action" as a community-oriented work of public art, and divided the community into four types. The first is to view the community as a fictional unity. For example, in Suzanne Laci’s Full Circle, the community defined in the work is actually an entire group of women, although the author interprets a particular individual from Chicago. The second is a specific location of the community. Such communities already have clear geographical and cultural attributes, and community residents share common values and lifestyles. Simon Renan and Christopher Operando designed billboards for the International Union of Desserts and Tobacco Unions. The third is a temporary built community. Artistic works are integrated into art education or art activities, so that people can be gathered together to form a community. The fourth is the extension of the third type of community, from a temporary community constructed by works of art to a sustainable community.
 



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