Who Is Kelly Coalier?

Georgia o'keeffe’s series of the Jack in The Pulpit contains several paintings depicting a specific type of bloom, including her “Jack In The Pulpit NO.4.” The first impression of this piece is that it is an abstract form of art, however this is not the case because it is representing a specific type of flower. This gives the piece a very specific subject that is being depicted. This is easier to identify once the Jack in The Pulpit no4 is placed back within the context of the series of painting that O’Keeffe painted using this flower as the subject, showing the importance of understanding context when looking at art historically instead of simple appreciation. The painting also appears to be idealized as O’Keeffe began with a view of the

Born in South Carolina in 1863, Dr. Kelly Miller was a leading African-American intellectual for more than half a century, and the first African-American to attend the Johns Hopkins University. After graduating from Howard University, Dr. Miller was admitted to the graduate program in Johns Hopkins University's Department of Mathematics in 1887. After two years, however, he withdrew from the university without a degree.

Georgia O’Keefe is a famous American painter who painted beautiful flowers and landscapes. But she painted these images in such a way that many people believed she was portraying sexual imagery. “O’Keefe’s depictions of flowers in strict frontality and enlarged to giant scale were entirely original in character . . . the view into the open blossoms evoked an image of the female psyche and invited erotic associations.” (Joachimides 47) O’Keefe denies these allegations and says that she “magnified the scale of the flower only to ensure people would notice them.” (Haskell 203) O’Keefe’s artwork was misinterpreted because of cultural prejudice, her non-traditional lifestyle, and

I chose the artwork “Kelly and the Red Horse” to represent the cultural frame. This detailed piece of Australian art shows the outback, mountains, skies and trees. It also falls under the cultural frame because of its mountainous, Australian scenery. The cultural qualities of this painting is what makes it fall under this category.

Mary Catherine Bateson's Improvisation In a Persian Garden, Annie Dillard's Seeing and Leslie Marmon Silko's Landscape, History, and the Pueblo Imagination

The primary focus of this exhibition is Archibald J. Motley Jr.’s Mending Socks, an oil painting created in 1924 currently located at the Ackland Art Museum. Depicting Motley’s grandmother across a 43.875 x 40 inches (111.4 x 101.6 cm) frame, Mending Socks exhibits a familiar setting complimented by bold colors. Such colors immediately draw the eye to the grandmother, then to the socks on her lap. One then looks to the table, to the fruit overflowing from the bowl, eventually falling on the background. Trailing along, Motley’s grandmother is the off-center grounding of the piece, proving a strong, soothing, and familiar image of relaxed family settings. Behind her, however, are subtle reminders of white power.

Introduction Georgia O’Keeffe was quoted saying, “When you take a flower in your hand and really look at is, it’s your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not.” Georgia O’Keeffe was a famous American painter, whose work influenced many artists today, and style resembled that of European abstract, and American pictorial forms.

Good Evening my fellow neighbors. Most of you know me and for the ones who do not, I am Mabel Dodge. I am the daughter from a family in Buffalo and had what was considered the best education for girls in the nineteenth- century. Instead of going to college, I got married, became a mother and soon, a widow. Later, I traveled abroad and soon married a Boston architect, Edwin Dodge who I later realized the passion I had was no more- so I divorced him. I became bored and began to crave art, the beauty and inspiration! A “salon” in Florence, Italy that I created for the purpose of attracting the most up- and- coming artists in Europe, had me become well known and even a muse for one of Gertrude Stein’s image poems. I reluctantly joined Edwin my husband at the time, who was eager to come back to the United States. I settled in an apartment on the lower Fifth Avenue which most of you have been in for my “evenings” of controversial debates.

One artwork that I have chosen to write about is Harriet Tubman by Aaron Douglas. I have selected this artwork because I am drawn to its color. In addition, I have a strong admiration for the subject matter. Looking at this artwork relaxed me and made me feel at peace as I was emotionally hypnotized by the color green. Even after looking at this artwork for a prolonged period of time, my admiration for it did not change. This artwork seems to represent freedom and being at peace.

Mayella Ewell’s geraniums symbolize her hopes for a better future, one which is much more ordinary and beautiful. Despite Mayella Ewell’s situation, she wishes to be more than her surroundings. "Against the fence, in a line, were six chipped-enamel slop jars holding brilliant red

Terror and mockery come together in the portraits of Cindy Sherman on display at the Crocker Art Museum. Walking into the large, dimly lit ballroom, one may begin to feel a slight sense of trepidation as the viewer looks around to find nine sets of beady eyes watching one’s every move. Sherman produced her History Portraits during the late eighties and early nineties, nine of which are displayed at the museum. In her portraits she uses lush fabrics, lavish jewelry, and false body parts to decorate herself in these self-portraits. Her portraits have been know to cause discomfort in the viewers who find the general stereotypes, depicted in her portraits, amusing, yet confusing and terrorizing.

Close observations of O'Keeffe's flowers show that she never really pursued the realistic approach. She didn't paint every petal and detail. Instead she gave her flowers a life of their own, and expression that changed significantly

Grunder's transition from the corporate world into the not-for-profit sector was stemmed from the unfortunate late diagnosis of his wife's brain tumor which eventually leads to her death. During his wife's journey, he learned that incorrect and late diagnosis was not an uncommon. This is where his passion for not-for-profit began. Wanting to bring awareness and education to the disease for both doctors and patients Grunder started the Kelly Heinz Grunder Brain tumor foundation with the mission that patients will receive a more expeditious diagnosis. This transition allowed him to conclude what it takes to successfully govern a not-for-profit, and construct his hierarchy of not-for-profit needs theory.

Jasper John’s 1983 artwork of Racing Thoughts and Byron Kim’s 1991 Synecdoche are both in the exhibited as part of the Whitney Museum’s: Human Interest: Portraits from the Whitney Collection. Applying encaustic process, which is known as a hot wax painting, Jasper John created this screen-print with wax crayon on collaged cotton and linen. Jasper John describes this piece as a series of images that ran through his mind while he was lying in the bathtub. He included items he saw around the room and things he was thinking about. Some of the elements in this piece are his hanging khaki pants, the running faucet, a nail on the wall, a dirty window, a vase and a decorative piece on a piece of furniture. Until you read the artist’s description it is difficult to tell that the white smear of paint is, evoking a feeling of disorientation. His arrangement of his images is seemingly affixed to the faux-wood grain background with trompe l’oeil tape, thumbtacks, and a protruding nail. The scale of images in Jasper’s Racing Thoughts appears to be scaled to real life. The texture of the painting evokes feeling of an antique surrounding like a bathroom in a third world country. In addition, the colors and patterns in this painting, display how he is a person with many things going through his mind at the same time with unorganized thoughts. A panel of Byron Kim’s, 1991, Synecdoche is displayed in the Whitney Museum one section out of a four hundred panel ongoing project depicting the

When one considers the term “Art Nouveau,” what comes to mind most immediately is “images of a European-wide invasion [characterized] by the restless dynamism of organic form”(Silverman 1). For me it is usually the work of Alphonse Mucha– his mysterious women surrounded by the beauties of nature. Often my Art Nouveau fantasies take shape in the odd fungal-shaped stained-glass lamps of Tiffany. Or sometimes they surface as the romantic Parisian posters I’ve seen at Pier One, advertising champagne or cats noir or bicycles or the like. But no matter what ones notion may be of what Art Nouveau looks like, there is a feeling that accompanies it that is at the heart of the style’s appeal. It is difficult to define or describe what