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Abstraction challenges the notion that art should be representational. Not all art represents a recognizable object, such as a landscape or a still life. Art that is non-representational is generally referred to as abstract. However, some abstract art may contain recognizable objects and elements that are arranged in unconventional ways. For example, American painter Georgia O'Keefe transformed the familiar world of flowers into abstract art with works like "Jack in the Pulpit." From 1930, the painting exhibits rich, saturated desert hues. Although the image is not immediately recognizable as a flower, the swirls and the central stamen do suggest that O'Keefe worked from a flower and deconstructed its form for the viewer.
Artists like O'Keefe returned to abstraction because of the flexibility it offered. The flower then takes on much more meaning than it would have if O'Keefe represented it formally. As "Jack in the Pulpit," the flower is a series of colors and forms on the canvas. On the very basic level, an abstract work of art embodies the phrase "art for art's sake." The image does not need to possess any deeper meaning, other than that which the viewer chooses to project onto it. O'Keefe's painting differs from cubism and other types of abstract art in its reliance on curvilinear shapes and forms. The sensuality of "Jack in the Pulpit" enables a wealth of interpretations, none of which will be correct. Unlike representational art, the subject matter does not matter.
Abstract art also has the capacity to convey abstract thoughts, concepts, and ideas. In "Jack in the Pulpit," the motion of the swirls suggests an upward movement. The painting conveys spiritual or emotional upliftment. At the top of the canvas, a spash of white and gold suggests the sun, whereas the darker browns impart the soil. Its earthy tones and richly saturated hues are grounding, in contrast to the upward motion of the curves. The painting suggests balance between earth and sky, which is what a flower represents even in its mundane form.
Plato and John Stuart Mill Glaucon's challenge to Socrates at the beginning of Book II of Plato's Republic is to clarify in what sense justice is a human "good." Glaucon begins by separating goods into three categories: those which are harmless pleasures with no results, those things which are good in themselves but also lead to good results (like knowledge or health), and those which are unpleasant in themselves yet lead
Art The Material Image is a photography exhibition at the Marianne Boesky Gallery, which is curated by Debra Singer. The exhibition includes work from eighteen artists: Michele Abeles, Lucas Blalock, Sam Falls, Ryan Foerster, Amy Granat, Rachel Harrison, Leslie Hewitt, John Houck, Barbara Kasten, Jason Loebs, Nick Mauss, Ken Okiishi, Arthur Ou, Anthony Pearson, Marina Pinsky, Mariah Robertson, Matt Saunders, and Chris Wiley. The material images are displayed throughout the Marianne
Philosophy In Book I of Plato's Republic, Thrasymachus, Glaucon, and Adeimantus provide intellectual foils for Socrates's ethical philosophy. Socrates responds to Thrasymachus's stance, which is essentially that, "the life of an unjust person is better than that of a just one," (p 88; 347e). Thrasymachus goes so far as to state that justice is "noble naivete," and therefore not worth pursuing at all (348c). Glaucon immediately takes the side of Thrasymachus,
Globalization and Human Rights Human Rights Issues and Globalization Overview of Human Rights Overview of Globalization Implications of Globalization on Human Rights Human Rights for Future Generations Overpopulation Climate Change It was argued long ago by Greek historian Herodotus that there are no universal ethics (Ishay, 2008). The historian argued that different cultures had different perceptions about what is acceptable behavior and what rights people should be granted. Herodotus illustrates this argument by comparing burial rituals that were
What is certain from all three films is that technology essentially shapes the way in which modern stories are told. Abstraction and Cinematic Modernism Cinematic modernism, as defined by a certain purposeful ambiguity and a rather high level of abstraction, has become a prominent feature of many films made in the past several decades. Rather than making meaning less apparent in films through the lack of concrete and certain interpretations of
To this point, Chouliarki (2000) argues that "the facilitation of deliberative processes among audiences is a matter not only of changing institutional arrangements (towards a regulation of marketized media) but also of changing the mode of articulation of media discourse itself; even though the latter may be a consequence of the former, each is a sine qua non-for deliberative democracy." (Chouliarki, 293) To an extent then, these approaches to language