Julie Becker : Art Of Contemporary Art

Julie Mehretu’s paintings are loosely termed history paintings by Douglas Fogle and called psychogeographies by the artist herself. A viewer is supposed to find something in themselves much like exploring a city and figuring things out for one’s own self-interest. Mehretu is quoted as saying “my aim is to have a picture that appears one way from a distance-almost like a cosmology, city, or universe from afar- but then when you approach the work, the overall image shatters into numerous other pictures, stories, and events. Historically drawing is seen as inferior to painting which makes it interesting that Julie Mehretu would employ so much drawing into her canvases because drawing is important to architectural drawings. How does the mapping nature of Julie Mehretu’s paintings convey a sense of identity in a very political nature and how is it a representation of the post colonialist world in which we inhabit? Scholars all seem to agree that Mehretu’s canvases are maps, but what do they seek to accomplish? My analysis of Mehretu’s Stadia III will use a biographical and post colonialist methodology to explore the ways in which Mehretu’s own upbringing and how the very nature of her map making, though very artificial, can be seen as a way of both bringing us together and giving those groups that have previously been neglected throughout history a voice.

The monetary contribution from The Mabel de Koevend Memorial Art Scholarship or The Dr. Linda Schele Memorial Art Scholarship would improve my artistic career next year not only financially but also through the opportunity to buy better supplies. I am currently working two jobs to support myself financially. The contribution from at least one of these scholarships would loosen the pressure I have experienced throughout this year, and I feel full-heartily that I could go back to working a singular job versus the two I work now. The contribution from either The Mabel de Koevend scholarship or The Dr. Linda Schele Memorial Art Scholarship would allow me to get better supplies and/or the needed supplies to succeed in my art career not only next

Positioned alongside Central Park in the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museum, especially one as influential as the Met, inherently predisposes its visitors to a certain set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within the museum. Brent Plate in Religion, Art, and Visual Culture argues that “objects obtain different meanings in different locations and historical settings.”An object placed on display behind a glass case inside a museum would hold a vastly different meaning if it was put on sale by a street vendor, like the ones who set up their tables in close proximity to the Met. The different meanings that objects are able to obtain is attributed to the relationships that are established between the object itself and the environment that surrounds it. These relationships often involve the kind of audience that a museum attracts, where the work is exhibited, and how the exhibits within a museum is planned out. Museums subsequently have the ability to control how these relationships are established which influences the way a viewer is able to construct meaning. When a visitor observes an object on display at the Met, they instinctively construct a certain set of

Judith Francisca Baca was born on September 20, 1946 in Los Angeles, California to Valentino Marcel and Ortensia Baca. Her father, Valentino, was not in the picture, so she was raised by her mother, grandmother, and two aunts. Coming from a Spanish speaking family, Baca struggled in school, but maybe her struggling was a good thing. Due to her problems with speaking, Baca’s teacher made her sit at her desk and paint, which sparked her interest in art. She attended California State University at Northridge to obtain her bachelor’s degree. Then she went back to her high school, Bishop Alemany High School, to teach. That is where she got together “ethnically diverse” students and painted a mural. Her teaching job did not last long. Her next job was in Los Angeles in a traveling program for artists to teach at different schools. But one even that sparked her art life was exploring the Mexican muralist tradition. She was inspired by different books she read about them and traveled to Mexico to take classes in mural techniques and materials. When she returned to Los Angeles, she began her Citywide Project. She supervised and

Sarah Painter I think your question is how can we reach everyone because the government can't/won't/doesn't, I believe that the perfect systems involves the citizen care more for their neighbor and their friend then having the latest iphone. I think if all of us willingly gave back to the community then we can reach each one. I'm reminded of a poem/story where a a guy is tossing sand dollars back in the ocean to give them another chance at life. And a guy asks you can't reach them all before hey die and he said I can make a difference in that one's life as he tosses another back in the ocean. We can make a difference with focusing on the one we can help.

According to Wikipedia and other sources, Jenny Holzer was born on July 29, 1950 in Gallipolis, Ohio, she is well renown artist and is categorized as an “American conceptual artist ”. Described as a very private person but a very public artist. She uses multiple medias and the list of mediums she uses seem to be growing endlessly. Her work is exhibited globally and was even featured on display in Time Square. She even has a movie that was made about her and her lifetime of body of artwork. The Telegram described her as “ one of the most respected, sought-after artists of her generation.” From what I have seen, read, and learned about Jenny Holzer, she is all about making a statement to society. She seems to be conscious and aware of her audience.

Luiseno Native artist James Luna’s performance of, The Artifact Piece (1987) confronts anthropological museums in their post-colonial precepts of the Indian “other”. In the performance of The Artifact Piece, Luna shares with the viewer that he himself is a living human artifact. Bringing into question why institutions as such continue to perpetuate and objectify Native Indigenous people as extinct artifacts, compared to dinosaur bones. His performance clearly created a crack into Eurocentric ideologies of early American Indians as separate and distant, to that of present day Native American Indians. In La Nostalgia: The Artifact, another performance by Luna. He explains “They have our stuff.” and “It’s all about the past, as if we don’t live in the present. Until they saw me…”.” In this performance he tells the viewer’s “Take a picture with a real Indian.” Sometimes Luna is in Native dress and sometimes he is in contemporary clothing. This then gives the audience a visual evidence that he is a living Indian of this space and time. As Jean Fisher put it in a 1992 Art Journal article, Luna’s work did not simply threaten to return a controlling gaze: rather, she wrote, the presence “of the undead Indian of colonialism . . . and the possibility that he may indeed be watching and listening disarms the voyeuristic gaze and

Cynthia Morris Sherman, also known as Cindy Sherman, is a photographer and film director in America. She was born in Glen Ridge, New Jersey. Her education took place at State University of New York College at Buffalo. In the past, she was once a winner of the MacArtuhur Fellowship. In the Museum of Modern Art, there is many galleries and murals dedicated to her own photography and videos that she had directed is the past. Some of her famous works as the “Untitled Film Stills” that was made through the year of 1977 to 1980s. In this collection, there were 69 different pictures in the collection. In this collection, she wants to show the cliché of feminism throughout the years. Sherman works throughout the year focuses on many different views

I selected the response by Laurie Hicks in Beyond Us Now: Speculations Towards a Post-Art Education and The Hijacking of Art Education by Michelle Kamhi. Hicks look at post art education in a philosophical view, “As I reflect on this notion of death of art education, it occurred to me that much depends on how one understands death and dying.” She speculates on what the post art education world might look like using her understanding and principles of the Dalai Lama reflections of living well and dying consciously. By using Dalai Lama’s viewpoint of living well, means valuing previous forms of art education and how they have contributed to society, individual and the profession. Hicks’ takes on a holistic view of post-art education by “valuing

As the author pointed out in her essay, Art Cycle curated by a group of young Argentine artists from Buenos Aires and Rosario which took place in 1968 as part of the cycle of events shows this paradox. Graciela Carnevale opened her exhibition in an empty gallery space, which windows had been papered over by the artist without attendee’s consciousness. The audience was invited into the space and were locked for more than one hour without prior notification. The artist claimed that she hoped to incite a form of “exemplary violence” among the participants, who would be forced to take action once they realized their plight, by breaking through the gallery’s glass front door. “Guest or prisoners” as the artist later referred them. Only afterward

One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.

Tammy Vaughn always had a love for design. At the young age of 5 years old with her first Barbie doll. Tammy would imagine how to take Barbie's outfits to the next level. Tammy was inspired and felt invincible. She would make clothing out of left over pieces of aluminum foil, paper towels, stockings, and more.

Sometimes it is hard to put artists in categories. There are those who rebel against labels and being boxed in by definitions. Sonia Domingues is one such artist. She has been called a mixed media artist, designer, visual artists and glass painter and she has stretched herself well in all mediums. Sonny as she is known has explained her art more like dreamscapes.  "... my Paintings emerges from Dreams, ... I want to stroll through all Artistic Styles, showing my own Vision of them..." She is not afraid to experiment to exist outside the boundaries of whatever genre of art she is navigating at any given time.

During the 1960s, new ideas in art began to emerge. The art world was introducing new various types of art including, performance art, photography, videography, installation and conceptual ideas. This era of art also pushed the boundaries between the traditional disciplines of art. Three artist that have had a huge impact on art in the time period are, Andy Warhol, Yoko Ono, and Marina Abramovic. Each of these artists embraced the new types of art in several ways.

of art as a finished product, signed by the artist and authenticated by the art market,