Ronick Simons 3D Design Professor Casey 3/26/2013 Richard Deacon ‘If the Shoe Fits’ – Analysis The sculpture‚ If the Shoe fits‚ by artist Richard Deacon is interpreted as a very intellectual abstract work of art by many. The piece is made completely of steel; that was cut‚ shaped and attached with rivets and screws. The sculpture was created in 1981‚ in London‚ UK. It still remains in London‚ located at the Tate Gallery. If the Shoe fits was inspired by Rainer Maria Rilke’s ‘Sonnets to
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Artworks in the Cullen Sculpture Garden The sculptures that adorn the acre-wide Cullen Sculpture Garden are not just an exhibit. They are an experience. They are to be walked amongst‚ and viewed as they are exposed to the elements. Light‚ shadow‚ weather‚ all play a part in how they are viewed throughout the day. In essence‚ no one sees the exact same sculpture. In full light the trees still dapple the sculptures with shadow. Metallic sculptures cast dark shadows. The steel sculptures especially challenged
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Demonic Males Demonic Males is an intriguing‚ fast-paced novel which explores the roots of evolution through which we‚ humans have evolved. The authors convey this book in a way that pulls you in right through the start by addressing the aggressive behaviors that have been passed down from our ancestors the great ape‚ to the males in our society. Demonic Males was an incising and factual story which you learn not only about how apes evolved‚ their mating habits‚ social systems‚ female coalitions
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Feathered Serpent Sculpture Facing out into the eyes of museum-goers‚ the Aztec feathered serpent sculpture currently on display at the Metropolitan Museum of Art dates from between fifteenth and early sixteenth century. Though the iconographic motif of the feathered serpent is a common and meaningful one in Aztec art‚ the formal elements of this piece communicate an equally strong message. Through deliberate choices in the crafting and facture of this seemingly dense stone sculpture‚ the artist reiterates
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Is the gaze male? Book Title: Women and Film: Both Sides of the Camera. Contributors: E. Ann Kaplan author. Publisher: Methuen. Place of Publication: London. Publication Year: 1983. Page Number: 35. Since the beginning of the recent women’s movement‚ American feminists have been exploring the representation of female sexuality in the arts—in literature‚ painting‚ film‚ and television. As we struggle towards meaningful theory‚ it is important to note that feminist criticism‚ as a new way of reading
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Sculptures come in many shapes‚ types‚ and forms due to not only the many different mediums that can be used‚ but also due to the ever-evolving nature of what constitutes as a sculpture and the materials that can be used to create sculptures. The two sculptures from the Ringling that I chose were The Pathless Woods‚ an interactive exhibit created by Anne Patterson‚ and Bodhisattva of Compassion created by Quan Am out of wood. The Pathless Woods created an experience of an installation piece‚ included
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“Visual Pleasure and Narrative Cinema” by constructing the concept of a male gaze. Mulvey summarizes the notion of the male gaze as a heterosexual male actively objectifying a passive female recipient. She effectively limits females to being the object of the male gaze and heterosexual males to controlling the gaze‚ stating‚ “According to the principles of the ruling ideology and the psychical structures that back it up‚ the male figure cannot bear the burden of sexual objectification” (Mulvey 838)
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Statement I wait patiently as my fellow students’ eyes move around my sculpture‚ scanning it‚ trying to figure out what does and does not fit. Standing alongside my work‚ I gaze around the room at their tired faces. I cannot help but feel like I am on display‚ as well as my art. After many grueling nights and endless amounts of caffeine‚ my piece is complete. I am proud of what I have created. When I stand before my peers with my sculpture on display‚ it is my job to defend my art and persuade them to appreciate
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this late phase in the development of Assyrian art when sculpture was otherwise rare. Lamassu were powerfully evocative of strength‚ speed‚ and intelligence. It was considered by the Assyrians as a protective guardian of their houses‚ palaces‚ gateways‚ and cities. It also symbolized as a sign of Assyrian power which was displayed to foreign dignitaries and ambassadors. There is no historical evidence showing that Lamassu was worshipped as a god. Indeed‚ most of the sculptures were placed at gateways
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Before 1800 the right to vote was extremely limited to only specific people. In the original thirteen states‚ New England and the Southern states‚ voting was only extended to property owning white males or white male taxpayers. This limited group amounted to less than half of the white male population‚ and none of the free or slave black population or women of any race. This expansion of this right was only stretched out a bit from the original group. Many factors lead to this expansion; however
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