Suchergebnisse

Art is a lie that makes people realize truth, Pablo Picasso once said. It is an idea epitomized by global thinkers -- painters, sculptors, architects, and filmmakers. From searing images of children doing everyday things against the backdrop of the Syrian war, to a massive sphinx made of sugar that forces an intellectual confrontation with racism in America, to a satirical installation that questions the ethics and efficacy of Western aid to Africa, the works created by these artists demand that viewers reconsider what they know to be true. A few of them are: 1. Kara Walker, 2. Maymanah Farhat, 3. Mohannad Orabi, 4. Jason Decaires Taylor, 5. Alexander Ponomarev, 6. Nadim Samman, 7. Rithy Panh, 8. Sam Hpkins, 9. Kiluanji Kia Henda, and 10. Camille Henrot. Adapted from the source document.

Art is a lie that makes people realize truth, Pablo Picasso once said. It is an idea epitomized by global thinkers -- painters, sculptors, architects, and filmmakers. From searing images of children doing everyday things against the backdrop of the Syrian war, to a massive sphinx made of sugar that forces an intellectual confrontation with racism in America, to a satirical installation that questions the ethics and efficacy of Western aid to Africa, the works created by these artists demand that viewers reconsider what they know to be true. A few of them are: 1. Kara Walker, 2. Maymanah Farhat, 3. Mohannad Orabi, 4. Jason Decaires Taylor, 5. Alexander Ponomarev, 6. Nadim Samman, 7. Rithy Panh, 8. Sam Hpkins, 9. Kiluanji Kia Henda, and 10. Camille Henrot. Adapted from the source document.

There is a place for artistic creation purely in the name of beauty: Ars gratia artis, the saying goes -- art for the sake of art. But as the Global Thinkers in this category show, art also has the power to make a striking political statement or reflect, even define, a moment in history. These artists have used brush strokes, words, images, and more to shock the senses and, in some cases, the sensibilities. They have defied the rules of artistic forms, as well as social norms of gender, race, and class. From China to Saudi Arabia, Britain to Azerbaijan, they have shown that art doesn't just matter -- it is vital. They include: 1. Haifaa Al Mansour for quietly breaking the Kingdon's gender barriers, 2. Chimamanda Ngozi Adichie for defying stereotypes on two continents, 3. Noviolet Bulawayo for giving voice to the 'born-free' generation, and 4. Mohsin Hamid for painting a disquieting picture of Asia's rise. Adapted from the source document.

Abstract
Mixing criticism and memoir, "Artists in Residence" offers a rumination on improvisation and collaboration in visual art-making and contemporary jazz performance. The author meditates on the 2017 Unite the Right rally and Ryan Kelly's award-winning photographs of the event and considers how artists offer models for resisting anti-Black racism and white supremacy through collaborative practices. The author analyzes the documentary films Looks of a Lot and RFK in the Land of Apartheid and reviews exhibitions by Roy DeCarava and Jason Moran, highlighting the points of intersection between jazz musicianship and visual artistry. Finally, the essay argues that artists like Kara Walker, William Kentridge, and Yusef Komunyakaa create works that express the pleasure and pain of Black Diasporic experience through practices such as blues idiom improvisation and collage. The author presents criticism as a mode of personal writing.

My thesis, Escape Artist, is a composite novel written as a fictitious memoir, similar in style to Tim O'Brien's The Things They Carried, that describes my experiences between the years 2001 and 2011. During that time I went through Marine Corps Boot Camp, became a military police officer, patrolled Yuma, AZ, was sent to Iraq for a seven-month tour as a security detail just before the start of Operation Iraqi Freedom, and made it back home four years later. The novel also looks into my struggles with Post-Traumatic Stress Disorder symptoms, how they affected the people around me, and what I've been trying to do to remedy them (or ignore them). ; 2012-12-01 ; M.F.A. ; Arts and Humanities, English ; Masters ; This record was generated from author submitted information.

Abstract
"Visible Monstrosity as Empowerment" asks, How can we own the transgender imaginary? Anthony Clair Wagner uses the figure of the monster in their art to reflect the stigmatization of monsterized others, specifically transsexuals. Wagner proposes that refusing hegemonic shame and boundaries through embracing the stigmatizing figure of the monster helps deconstruct the violent hegemonic imaginary. They call for monstrous visibility. In this artist statement Wagner explains the importance of the appropriation of the figure of the monster in their art as a tool for empowerment.

The best things come ... from the talents that are members of a group; every man works better when he has companions working in the same line, and yielding to the stimulus of suggestion, comparison, emulation. Great things have of course been done by solitary workers; but they have usually been done with double the pains they would have cost if they had been produced in more genial circumstances [Henry James, in Cowley 1973: 134].

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