Artist Essays (Examples)

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Art is a Contextual Product

Words: 1569 Length: 5 Pages Document Type: Essay Paper #: 39391976

Art - A Product of Its Context
Exploring by visual means is a versatile process of collecting facts about the world. The context from which one does so and their personal factors influence such a dynamic exploration process. Art and context are inseparable. The meaning is derived from the information that accompanies a piece of art. Thus far, aspects such s the title of a piece of art, the authenticity and historical facts also add to the meaning. The mentioned factors determine one’s evaluation of a piece of art and their sensitivity to the same (Brieber).
Sun mad – 1981 by Ester Hernandez
Figure 1. Sun Mad (1982) (Adopted from Bain, 28-29.)
The skeleton of Hernandez demonstrates the deadly effects of pesticides while strongly locating the text in the Mexican traditional making of print that dates back to the day of Jose’ Posada. The skull signifies a Mexican society…… [Read More]

Works cited

“Art Analysis: Meaning of The Scream by Edvard Munch.”, 2011. Web.

Bain, Rowan. \\"Ester Hernandez: Sun Mad.\\" Art in Print 3.6 (2014): 28-29. Web.

Brieber, David et al. “Art in time and space: context modulates the relation between art experience and viewing time” PloS one vol. 9,6 e99019. 3 Jun. 2014, web.

Friedlaender, Gary E., and Linda K. Friedlaender. \\"Edvard Munch and The Scream: A Cry for Help.\\" Clinical Orthopaedics and Related Research® 476.2 (2018): 200-202. Web.

Lemke, Sieglinde. \\"The Icon: Dorothea Lange’s Migrant Mother.\\" Inequality, Poverty and Precarity in Contemporary American Culture. Palgrave Macmillan, New York, 2016. 85-105. Web.

Phelan, Ben. The Story of the \\"Migrant Mother\\". (2014). Web.

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Brechts Impact on the Work of Boal

Words: 1306 Length: 4 Pages Document Type: Essay Paper #: 55285587

Brecht’s Influence on Boal: An Examination
Attempting to trace the influence on a particular artist can always pose a host of problems, given the fact that in the lifetime of an artist, they have been impacted by a host of artistic influences. However, the work of Boal has a very evident debt to Bertolt Brecht, most notably in Boal’s Theatre of the Oppressed (Babbage, 6). This work make constant reference to Brecht’s thoughts on Epic Theatre, and orbits around many of Brecht’s motifs on politics and anti-illusionism, along with a critical production aesthetic (Babbage, 6). This paper will examine how the work of Augusto Boal via his Theatre of the Oppressed, was undeniably influenced by the work of Bertolt Brecht.
One aspect of Brecht’s profound influence on the work of Boal, and arguably on so many artists of the era, was that he encouraged a new means of thinking about…… [Read More]

Works Cited

Babbage, F. Augusto Boal. Routledge, 2004.

Bowen, Kate. \\"?Bertolt Brecht?s Influence Cannot Be Overestimated? | Culture | DW | 11.08.2006.\\" DW.COM, 8 Nov. 2006, cannot-be-overestimated/a-2127719. Accessed 8 Oct. 2017.

Robinson, Andrew. \\"Augusto Boal: Brecht and Beyond – The Boal Method.\\" Ceasefire Magazine, 20 Aug. 2016, method/. Accessed 8 Oct. 2017.


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How Creativity Can Improve Life

Words: 2051 Length: 7 Pages Document Type: Essay Paper #: 39350539

Everyday Creativity
The concept of everyday creativity is about finding joy in the things we do and obtaining happiness in even the most routine aspects of life—such as finding food to eat, getting dressed, getting to work, or even adapting to an unexpected emergency. Everyday creativity is about the art of spontaneity, the art of adaptability, the art of being okay with things the way they are because at all times one has the means to succeed, to feel good, to be brave, the obtain joy even in the most miserable of times. This idea is rooted in the belief that there is grace in all things, all around one, and that by tapping into this grace, one enhances one’s own life exponentially. This paper will show how the American Psychological Association (2007), through the articles by Zausner (2007) and Richards (2007), proves that creativity is the best approach to…… [Read More]


Ailwood, J. (2003). Governing early childhood education through play. Contemporary Issues in Early Childhood, 4(3), 286-299.

Richards, R.. (2007). Everyday Creativity. In Everyday Creativity and New Views of Human Nature: Psychological, Social, and Spiritual Perspectives, edited by R. Richards. Washington, DC, US: American Psychological Association.

Gray, P. & Feldman, J. (2004). Playing in the zone of proximal development: Qualities of self-directed age mixing between adolescents and young children at a democratic school. American Journal of Education, 110(2), 108-146.

Maslow, A. H. (1943). A theory of human motivation. Psychological Review, 50(4), 370.

Zausner, T. (2007). Artist and audience: Everyday creativity and visual art. In Everyday Creativity and New Views of Human Nature: Psychological, Social, and Spiritual Perspectives, edited by R. Richards. Washington, DC, US: American Psychological Association.

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Medici Venus

Words: 1037 Length: 3 Pages Document Type: Essay Paper #: 43321190

The Medici Venus is the common name applied to the Aphrodite statue that has been essentially copied from the Praxiteles form. The Aphrodite housed by the Metropolitan Museum of Art in New York is a famous example of the form: armless (because they have broken off, not because the statue was designed that way), Aphrodite is depicted as emerging from the sea which is symbolized by the small dolphin at her feet (the sea creature also doubles as a support for the standing Aphrodite). The marble statue of Aphrodite in the Met hails from the Imperial Roman period and was likely chiseled in the 1st or 2nd century AD. Standing at a height of 62 ½ inches (including the plinth upon which the Aphrodite is situated), the statue is a life-size replica of the Greek statue by Praxiteles, who was the first artist of antiquity to depict the goddess in…… [Read More]

Works Cited

The Met. “Marble statue of Aphrodite.”

Von Bothmer, Dietrich. “Greek Marble Sculptures.” Bulletin of the Metropolitan Museum of Art, 16.6 (1958): pp. 187, 192.