KING OLLAID

  Select one specific work of art from chapters 14, 17, 18, 19, or 20 that the artist was motivated to create  in direct response  to a specific political or social concern of the artist's own time period (race, gender, poverty, war, political unrest, etc.). Cite the image in your post and describe the social or political issue it addresses. Deeply affected by the ideas of Surrealism and the teaching of Hans Hofmann, New York artists of the 1940s began working in a style collectively called Abstract Expressionism. This term designates not an organized movement but the work of a wide range of loosely affiliated artists active in the 1940s and 1950s bound by a common purpose: expressing their profound social alienation in the wake of World War II and making art that was both moral and universal. Two major approaches emerged: Action Painting, characterized by active paint handling; and Color Field Painting, distinguished by broad sweeping expanses of color. Some art historia...

  Abdoulaye Diallo Wed Feb 3 @ 10:42 am EST * 1- Choosing a culture from chapters 1, 2, 3, 5, or 6, discuss the culture’s funerary customs and how such customs are manifested in art. To support your points, cite and discuss an image that specifically reflects the aspects of the funerary and burial culture you choose to discuss: All cultures have rules for representing people, things, and ideas, but Egyptian conventions are among the most distinctive and long-lived in the history of art. Everything is represented from its most characteristic viewpoint: profile heads sit on frontal shoulders and stare out at viewers with frontal eyes. And Egyptian art is geometrically conceived and sleekly stylized, often abstract and conceptual in design. Symbols were established early on and endured for almost two millennia. Stability was clearly valued over change. (Art: a brief history, 2010, p. 67). We see in most of the art that the Egyptians believed not only in the eternal life after death, b...