Category: 9:30 AM Class

Final Project: The True use and Influence of Architecture Throughout Societies

From the 20th Century to modern day civilization, societies from all around the globe have constantly endured their share of hardships. For example, in the ’40s the world experienced the horrific nature of The Holocaust. After years of fighting with the Germans, the end result was an utter catastrophe. Buildings were destroyed, homes turned to ash, and millions murdered. It took decades to rebuild what was once lost, but yet the job was finished wholeheartedly. Due to architects and their projects, new buildings were built and as everything was being brought back slowly, hope was restored to the people. After WWII, comes the rise of the Cold War. As a result of the Cold War, economies plummeted and certain societies were destroyed. For example, the society of Yugoslavia was in shambles. However, the Utopian project was created to rebuild through architecture and restore the light in the souls of the people. Nothing more is desired than to live harmoniously amongst each other with the eradication of violence. That is what architecture has and is continuously trying to provide society with. In its purest form, architecture provides a certain influence on society through its intersection with individualistic creativity. This concept of art is used worldwide in an ongoing attempt to create drastic changes in modern civilization and in the minds of the general public. Through the architectural genius of Bodys Isek Kingelez “City Dreams,” the project known as “Toward a Concrete Utopia: Yugoslavia,” and from public architecture such as the fallen Twin Towers (now known as One WTC), the world is in an attempt to move towards a better future.

Bodys Isek Kingelez is a self-taught Congolese artist who decided to bring a pure fantasy into a reality. His “City Dreams” collection consists of vibrant and elaborate cities that are made from paper and cardboard (Wiesenberger). Kingelez dedicated his buildings to cities, companies, countries, civic infrastructure, and intergovernmental organizations (Wiesenberger). Much of his work actually represents the city and country in which he grew up in, as well as, future utopian communities. For example, the project known as Ville De Sete 3009 is a projection of a fictive metropolis (Wiesenberger) where doctors and police are not needed (MoMA).

Ville De Sete 3009. The color and vibrancy of the buildings create a sense of tranquility and peace. Each section of this piece has its own unique design to it, making it a place for everyone to possibly enjoy in the future.

Other exceptional and profoundly artistic pieces that Kingelez created was the U.N. (1995) and the Scientific Center of Hospitalisation the SIDA (1991) (MoMA). The U.N. piece was created to “attest the organization’s global peacekeeping efforts and the artist’s own sense of civic responsibility” (MoMA). It represents a peaceful future, in which nations from around the world come together to create a united society. No wars, just peace. The Scientific Center of Hospitalisation of SIDA was created in response to the spread of AIDS in his country. Kingelez himself was quite intrigued with world events and social issues (MoMA) which acted as a prime inspiration in his creations. “His work explores urgent questions around urban growth, economic inequity, how communities and societies function, and the rehabilitative power of architecture—issues that resonate profoundly today” (MoMA). In the artist’s words, he imagined “a better, more peaceful world” (MoMA). People who walk by this exhibit in the Museum of Modern Art hardly recognize the purity it brings and the hope it establishes. When I first experienced this exhibit, I was in awe. A sudden wave of serenity washed over me, and in my mind, I pictured a better future filled with peace.

The U.N. 1995

 

Architecture not only inspires, but it transforms the world as well. Societies have endured countless wars and total destruction, but what brings it back from the brink is the use of architecture. The Republic of Yugoslavia is a perfect example of the true use of architecture. After the Cold War, everything was in shambles. However, architects who participated in the Concrete Utopian Project from 1948-1980 “responded to contradictory demands and influences, developing a postwar architecture both in line with and distinct from the design approaches seen elsewhere in Europe and beyond” (MoMA). This project explores “themes of large-scale urbanization, technology in everyday life, consumerism, monuments and memorialization, and the global reach of Yugoslav architecture” (MoMA). Without these wonderful artistic minds, Yugoslavia would not be living up to its own potential. Some might say architecture nowadays is all about becoming the new face of a magazine (MoMA/Youtube). They wouldn’t be wrong. However, those who would say that are not entirely correct. Yes, architecture is a competition, but it is also the foundation of the future. Without architecture, the world would be archaic. It’s beautiful to see what was once destroyed, to be back up on its feet again. Citizen of Yugoslavia never would have believed that their city would be restored back to glory.

 

“Third Way” Architecture

Image result for toward a concrete utopia architecture in yugoslavia

Image result for toward a concrete utopia architecture in yugoslavia

Image result for toward a concrete utopia architecture in yugoslavia

These structures represent a glowing new world. One in which everyone can enjoy and have stored in memory.

Now, one of the most prominent pieces of public architecture, in my opinion, is the fallen but never forgotten Twin Towers. On September 11, 2001, a horrific act of terrorism flew two planes into the Twin Towers in New York City. Before these towers were destroyed, the architectural brilliance that went into it is beyond anyone’s wildest dreams. “Manhattan’s World Trade Center was a triumph of human imagination and will. Completed in 1973, the towers stood at 110 stories each, accommodating 50,000 workers and 200,000 daily visitors in 10 million square feet of space” (History.com). It was New Yorks most famous tourist attraction and symbolized “America’s–steadfast devotion to progress and the future” (History.com). If someone were to visit New York, from a plane these towers could be seen. That is when someone would know they are in New York City. Some would even use these towers to orient themselves in the hustle and bustle of the city. The World Trade Center was a “concept of world peace through trade” (History.com). It was not only a symbol of the future, but it was a symbol of triumph as well. Even though the towers are gone, a new World Trade Center stands in its place. It stands mighty and strong, commemorating the fallen and showing the world that America and New York cannot be brought down. There is resiliency in the architecture of this building and hope of a new age.

Image result for twin towers
Twin Towers before the attack on 9/11
Related image
1 WTC Present Day

I chose architecture as my topic because it represents something unique for every individual. For one it might represent hope, for another, it could represent bravery or courage. No matter the representation, architecture affects every person differently. It’s important to understand the true nature and effect it has on society because, without this piece of creativity and art, society becomes uncultured. Through the architectural genius of Bodys Isek Kingelez “City Dreams,” the project known as “Toward a Concrete Utopia: Yugoslavia,” and from public architecture such as the fallen Twin Towers (now known as One WTC), the world is in an attempt to move towards a better future.

Bibliography

Art, The Museum of Modern, director. Toward a Concrete Utopia:           Architecture in Yugoslavia, 1948-1980. YouTube, YouTube, 10           July 2018, www.youtube.com/watch?v=M2S0bBTHu-8.

“Bodys Isek Kingelez: City Dreams.” Lee Bontecou. Untitled. 1959 |          MoMA, www.moma.org/calendar/exhibitions/3889?locale=en.

“Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–                   1980.” Lee Bontecou. Untitled. 1959 | MoMA,                                         www.moma.org/calendar/exhibitions/3931

Wiesenberger, Robert. “Bodys Isek Kingelez: City Dreams.” Art                 Papers, www.artpapers.org/bodys-isek-kingelez-city-dreams/.

“World Trade Center .” History.com, A&E Television Networks,                   www.history.com/topics/landmarks/world-trade-center.

 

Final Essay Annotated Bibliography (Second Topic)

Final Essay Annotated Bibliography

Topic –

           Tying pieces we have gone over throughout the semester, as well as statues and works of art that I have come across from the met museum together to come to a conclusion for the overall question of if everything being produced by different artists and sculptors is in some way all related and trying to point to a larger picture.

The Met’s Heilbrunn Timeline of Art History, www.metmuseum.org/art/collection/search/247173.

The Met’s Heilbrunn Timeline of Art History, www.metmuseum.org/art/collection/search/248140.

The Met’s Heilbrunn Timeline of Art History, www.metmuseum.org/art/collection/search/251050.

              These citations bring you to a more in-depth description of the photos that I gathered from going to the Met Museum. They include the statue of Eirene, the marble statue of the lion, and the bronze horse. Although at first glance these three pictures may seem to have no correlation to each other, when inserted into the grand scheme of things that will be unveiled in the entirety of my final, all will begin to come together in an eye-opening revelation of sorts

David, Ariel. “Linking the Past and the Present Through Art.” The New York Times, The New York Times, 7 Sept. 2010,      www.nytimes.com/2010/09/08/arts/08iht-rartisrael.html.

           This source is used to give backstory on the question I have presented. It delves into the ways that art ties in with history, and how it continues to do so. It also goes on to give examples of how many things throughout different eras are in turn connected to one another, and how they symbolize different things.

By. “The 14 Most Unintentionally Terrifying Statues in the World.” Cracked.com,  www.cracked.com/article_19155_the-14-most-unintentionally-terrifying-statues-in- world.html.

           Lastly, we have this source that adds a bit of flair to the already conspiracy driven essay. It goes on to explain many terrifying works of art that populate the world, and how in turn they may be related to events that have already happened, or that are in the midst of happening. Most seem to be just myth driven pieces, but others could definitely be the nail that drives every point together.

Final Project Walking Tour

Walk in the Paths of Devotion

A Virtual Museum Tour Through Ancient Artworks

Divya Roy

Table of Contents

What is devotion…………………………………………… 1

Ancient Mesopotamia………………………………………………………………. 2

Ancient Egypt………………………………………………………………………… 3

Ancient Greece……………………………………………………………………….. 4

Ancient Rome………………………………………………………………………… 5

Renaissance…………………………………………………………………………… 6

What is Devotion

Devotion can be interpreted to mean a lot of different things. It is a form of “love, loyalty, or enthusiasm for a person, activity, or cause” or in a religious perspective, devotion is to a deity, practiced through religious worship, prayers or religious observances. Art, especially ancient art, is a window through which one can see this psyche of people and the propensity of their devotion to a particular deity.

The art made by the artists is in fact a form of devotion, as the elements give so much depth about the subject and the artist.  Art is a form of devotion, such that when art changes so does devotion.

The MUSEUM TOUR

This museum tour will focus on multiple works of art from different eras and places in a journey to understand and get a grasp of the psychology behind devotion for the ancient peoples and its creators.

“True devotion is motivated by love alone and devoid of selfish entanglements.”

Indeed, there is no doubt that the works of art we will see today are made in devotion to the Gods of the time, a portion of love alone and devoid of selfish entanglements, as the art works speaks volumes through the intricate work about struggles and selflessness of the creators.

MESOPOTAMIA

Period: Neo-Sumerian

Date: ca. 2090 B.C.

Place: Mesopotamia

Classification: Stone-sculpture-inscribed

The work from a visual perspective tells of an important and revered subject. The subject in the statues is Gudea, a ruler of the state of Lagash. The statue demonstrates a very sophisticated level of craftsmanship for the time and even today. The inscription details the story of Gudea, and how the statue is dedicated to honor the Gods/goddesses by being placed in a temple. Each of the very fine detailing of stone, form the hat, to the fingers/toes and the inscription is telling of the value of this particular artwork. This is almost an offering to the Gods, as the art is sought to represent divinity and the craft something more than the natural.

EGYPT

For ancient Egyptians, the ideal pharaoh was a man in his young adulthood and in the prime of his life however, physical reality often tended to be less important as old men, women, or even babies who have the title of pharaoh could be viewed in this very ideal form. Therefore, the visual image especially portrayed in artworks becomes a relevant part of devotion. The representation of of the female Hatshepsut shows exactly that. The inscriptions for her depicted her with masculine and feminine grammar even though it states she is a woman.

This statue was one that stood in the grand doorway on the upper terrace of Hatshepsut’s temple.

Period: New Kingdom

Date: ca. 1479-1459 B.C.

Place: Upper Egypt

Greece

Ancient Greece was probably one of the more widely recognized civilizations for their devotion to the supernatural, as they worshipped multiple Gods, each with a distinct character and quality. The Hellenists, like many ancient civilizations used there Gods as a way for making sense of the chaos in the world, and form an origin for human life.

The most intriguing aspect of devotion in my perspective is that, the Greeks were able to form devotion through the mundane. In a sense incorporating religion and devotion into their everyday life, so much so that they are constantly reminded of it in every part of their day. Below is a simple vase depicting the story Perseus being sent to obtain the head of Medusa by King Polydektes.

 

Period: Classical

Date: 450-440 B.C.

Place: Attic Greece

Classification: Vases

ROME

The ancient Roman era gives a different portrayal in devotion. The deities become dramatically similar in physiology to human beings. The devotion though still to a deity, shifts to the ideal image of human beings. The musculature and bone structure become highly emphasized for the ancient Romans. In a sense, this marks the beginning of a human superiority complex, and devotion starts to become self-centered. Because artists were able to portray the human body so keenly, the devotion toward the “human” becomes even more stronger. The athlete’s body was highly idealized and emphasized during this time.

Name: Marble Statue of Bearded Hercules

Period: Early Imperial, Flavian

Date: 68-98 AD

Classification: Stone sculpture

RENAISSANCE

During the time of Renaissance, devotion becomes more focused and organized, as Christianity starts to take root among the people. People looked to a man named Jesus Christ as their savior. Because of Jesus’ narrative, paintings came of real value and emotion, like all other arts discussed. Jesus’ story became a center of focus, as it was so painful, touching and moving. Every aspect of Christ’s life was poured out into paintings. Especially, his climatic moments on Earth, were emphasized. The last supper became a symbolic element of the church to come together in communion and join the community in a union even after the leader’s death. The painting of the last supper became an emblem for community and worship.

Name: Last Supper

Date: 1325-30

Place: Italy

Classification: Painting

 

Annotated Bibliography 

Ziegler, Joanna E. “Michelangelo and the Medieval Pietà: The Sculpture of Devotion or the Art of Sculpture?” Jstor, 1995, www-jstor-org.ez-proxy.brooklyn.cuny.edu/stable/pdf/767122.pdf. 

This article focuses on how reacting to Flemish models Michelangelo remained consistent in his views of art. He radically redefined the enterprise of the sculpture and sculpture making and also art itself. He did so by making the sculptures inviolable (due to the change of material from wood to marble) and resistant to the physical transformations. I particularly took interest in this article because it was seen that the Flemish works have been associated with devotion and in ritualistic proceedings. This transformation in art as a consequence of Michelangelo explores how devotion becomes tested when art transforms.

“IWonder – Why Does the Art of Ancient Greece Still Shape Our World?” BBC News, BBC,2017www.bbc.com/timelines/z99tn39.

This research site goes into the specific of Greek art in chronological time while incorporating with its history. And we see, that Greek art often becomes a reminder for future generations about previous generations, it was a way of carrying down legacies. This is why art is important to the Greeks. Ancient art especially carries down the traditions of ancient Greek people, and allowing them to overwhelmingly present in everything gives a constant reminder to Greeks about who they are and who they were.

“Renaissance Art.” History.com, A&E Television Networks, 1 Jan. 2018, www.history.com/topics/renaissance/renaissance-art.

This website really helped to give a full understanding of Renaissance art and especially why it was important in Christianity. This helps draw the importance of Christ in almost all of Renaissance paintings and other artworks. The role serves a bigger purpose to unite the Christian community.

“Hatshepsut.” The Met’s Heilbrunn Timeline of Art History, 2010, www.metmuseum.org/art/collection/search/544446.

This website explores why gender was not an issue in Egyptian art work as their idealized figure always remained universal in all of the artworks. This becomes an important aspect in devotion as the role or title of pharaoh was to be devoted to rather than the individual identity.

NĂSTĂSOIU, DRAGOŞ GH. .. “Patterns of Devotion and Traces of Art.” Umeni / Art, vol. 64, no. 1, Jan. 2016, pp. 29–43. EBSCOhost,ezproxy.brooklyn.cuny.edu:2048/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=114579735&site=ehost-live

The article provides an analysis of art history and patterns of devotion by referring to the pilgrimage of Queen Elizabeth Piast to Marburg, Cologne, and Aachen, Germany in 1357. Following the journey, the reader becomes convinced that there is infact a connection between art and devotion and two are inseparable.

 

 

Final Project: Shift of Focus in Ancient Egyptian, Greek, & Roman Art

Sharona Abramova

ARTD 1010 – 9:30 AM

Professor Shaw

Final Essay

Shift of Focus in Art History

Throughout history, art has been a way to understand what was going on during that era. It also has had an influence for the future generations. In civilizations such as Ancient Egypt & Mesopotamia, the focus of their works of art were the gods. The focus in art shifted from Gods in Egyptian art to humans in Greek & Roman art. This is known as Humanism. The Greeks & Romans believed that humans should be celebrated equal to or even more so than the Gods in their artwork. The art of the Greeks and Romans is known as classical art.

The Brooklyn Museum

Meretseger

EGYPTIAN, CLASSICAL, ANCIENT NEAR EASTERN ART Old Kingdom to 18th Dynasty

ca. 1479–1400 B.C.E.

 

As seen here, there was an emphasis that was made on the Gods in Egyptian artwork. This goddess, whose name means “she who loves silence,” has a woman head and a cobra’s body. An animal with a human head is a common thing Egyptians did in art. Some background information is that as a local deity, Meretseger guarded the Valley of the Kings, where monarchs were placed in a tomb, and the village of craftsmen who worked there. Though a dangerous animal, her purpose was to protect the workers in the valley, and also sometimes those that did wrong things. Gods were the focus in the art pieces showing superiority over human beings. This is seen in the artwork because Meretseger is not portrayed as a human being.  This shows that the gods were special because they were portrayed in a different kind of appearance compared to humans because of their animal body and were the focus in Egyptian art. 

 

The Metropolitan Museum of Art (MET)

Marble statue of a kouros (youth)

Ancient Greece, Attic

ca. 590–580 B.C

This sculpture shows how humans became the center in art. This is one of the earliest marble statues of a human figure carved in Attica. Ideas were still taken from history. For example, the rigid stance, with the left leg forward and arms at the side was from Egyptian art. The statue marked the grave of a young Athenian aristocrat. These sculptural types displayed nudity, highlighting their unique hairstyles and abstracted musculature. He is standing while being nude to depict equality & to represent that the physical structure of humans were the same regardless of their social hierarchy.

The Metropolitan Museum of Art (MET)

Marble statue of Hermes

Roman

1st or 2nd century A.D.

The Greeks had a major influence on Roman art. This sculpture depicts a built, muscular man standing in a more confident pose in nudity. Humans, like in Greek art, were the core in Roman art. It is a Roman replica of a statue attributed to Polykleitos. Romans tend to add a touch of humor to their artwork and that’s what made them unique.
The art of the Egyptians served a different purpose than the art of the later cultures. Egyptian art was meant to benefit a divine. However, it still did influence Greek & Roman artists. The art of the Egyptians was functional and created for a practical purpose. On the other hand, the later art was intended to be for aesthetic pleasure. The statues made by the Greeks held the spirit of the god or the deceased. The Egyptians thought of art as “functional above everyone else” (Mark, 2017). The idea of “art for art’s sake” was not familiar to them. If they saw how their art is displayed at museums nowadays, it would be incomprehensible to them. Egyptian art is still admired for its beauty and one of the reasons is that they placed a value in symmetry. Egyptian art is often criticized for being not refined because there was a lack of emotion/expression on the face, always 2D, & no light/shadow in the compositions. However, Egyptians did this on purpose. They thought that a spirit of the deity would need to represented the way they are in the pieces of art in order for the soul to continue its journey in the after life and had to survive in some form on earth.
Classical art by the Greeks & Romans owes its influence to the sheer beauty of humanity. Greece was conquered by Rome in 146 BC & that’s why Greek art had a major influence on Roman art. Romans even made copies of Greek art. They believed that a copy of an artwork doesn’t have less value than the original. The copies did often have variations to them. They often added a touch humor to some somber/serious elements portrayed in Greek artwork. They had an ability to adapt & uniquely combine their inspirations from previous centuries & that’s makes Roman art Roman.
Humanism is used in Greek & Roman art and it celebrates mankind by putting an emphasis on the human body. Humanism in different art sculptures evolved as it put more detailing on the body structures and face. They emphasized the body of man by making them have certain poses and different face expressions. Egyptian art focused more on deities & gods to honor them and put them at the center. On the other hand, Greek & Roman art focused on humans and how they’re the center of events.

 

Works Cited

Ancient Egyptian art

Introduction to ancient Greek art

Introduction to ancient Roman art

https://www.ancient.eu/Egyptian_Art/

Gift Voucher Game 100K

https://www.brooklynmuseum.org/opencollection/objects/4178

https://www.metmuseum.org/art/collection/search/253370

https://www.metmuseum.org/art/collection/search/254925

 

Final Project Option 1

Zachary Troyano

Art 1010 Final Paper

Prof. Shaw

11/27/18

 

 

Both Andy Warhol and Jean-Michel Basquiat explored the depths of American culture in their respective art work. Warhol ­­­­­­­first met Basquiat when out to dinner at a restaurant with curator Henry Geldzahler, when Basquiat approached Warhol to sell him postcards with his artwork on them.1 In their art, both artists represented and created a unique American identity they explored within the overarching themes of their work. Warhol, significantly older than Basquiat, started his career earlier, in the 1960’s. His art focused greatly on the rapidly changing and turbulent landscape of America during that time. Advertisements interested him greatly, he saw them every day as America was quickly evolving into a capitalist empire. His artwork reflected the changes he saw, often he would use corporate symbols and household objects and turn them or transfuse them into art. Along with his exploration of overwhelming advertisements, Warhol also focused his art on celebrity culture, another emerging staple of the time. America, and more specifically, American media, had a rapidly growing and intertwined relationship with celebrities. Warhol saw this obsession and chose to capture it and further develop that unique American identity. He would make large scale prints of the faces of celebrities and notable figures of the time. Often, he would distort the colors of their face and alter certain pigments to cast them in a different or unfamiliar light. After Warhol had cemented his name in art history, Basquiat entered the art world in the 1980’s as a street and graffiti artist. Basquiat gained instant notoriety in the art community and he soon found himself a major focus in the art scene. His work explored institutionalized racism in America and social hierarchies based on skin color. He also worked in themes of power structure dynamics and oppression. Jean-Michel Basquiat and Andy Warhol created a unique American identity within their art, both individually and in their joint collaborations.

 

“Marilyn”, Andy Warhol 1967

 

This print of Marilyn Monroe is an example of Warhol creating an unique American identity within his art. Marilyn Monroe was arguably the most famous actress in the world during the 1950’s and 1960’s. She was featured on the cover of magazines, starred in movies, even allegedly had an affair with President John F. Kennedy. In every way, she was a staple of American culture during the time Warhol was making his art. In this print, Warhol chooses only to include Monroe’s head, almost like a celebrity headshot, and saturates and alters the color on her face to make her face slightly less familiar and different from what we are used to seeing her as. Often Warhol replicated the print several times and pasted them one after another, almost stacked on top of each other. On the repetitions of the faces Warhol once said, “The more you look at the same exact thing, the more the meaning goes away, and the better and emptier you feel.”2 It was America’s unhealthy obsession with Monroe that ultimately led to her downfall and death, and Warhol aimed to capture the emerging American celebrity culture with these prints of Monroe and other famous figures.

 

 

“Hollywood Africans” Jean-Michel Basquiat 1983

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This painting was inspired after Basquiat’s visit to California with a few other artist friends.3 It highlights many typical Basquiat features, such as written words, words crossed out, the crown and copyright logos. The painting is a reflection on America and Americans media’s unhealthy relationship with African Americans. It explores ideas of racism with the “GANGSTERISM” written near the bottom of the painting. It demonstrates the power structure dynamics and social hierarchies that exist in America that often misrepresent and oppress African Americans. The writings of, “sugarcane” and “tax free” is a commentary on slavery used for importing goods. Basquiat, in this painting, is building upon a unique American identity. He is highlighting injustices and institutionalized racism that exist in America and expressing them through his art.

 

 

 

“Bananas” Jean-Michel Basquiat and Andy Warhol 1985

 

 

This painting is one of 140 collaborations between Basquiat and Warhol.4 It features many overarching themes present in their solo careers that represent the unique American identity they each created in their art. For Warhol, we see familiar the familiar themes of, “The social and commercial fever of the modern world– advertising, celebrity, hero wordship…”5 The large corporate “General Electric” logo is featured prominently and is also inverted. There are various price signs scattered throughout. Basquiat chooses to draw and paint inexpensive things like nickels and glasses of milk, representing the power structure dynamics and hierarchies built to oppress African Americans. This joint collaboration features some of the themes each artist used to create their unique American identity within their art.

 

Jean-Michel Basquiat and Andy Warhol both saw something in American culture that not many other artists could capture. What each artist saw and experienced were entirely different from the other, but both artists have created a uniquely American identity through the themes present in their art work. Warhol uses themes crude and overwhelming advertisements, a staple to American culture during the 1960’s, to create that identity, as well as themes celebrity culture and hero worship. His art featured prints of various celebrities and notable figures of the time, as well as corporate logos and symbols. Basquiat explores themes of institutionalized racism and social hierarchies that exist in America to oppress African Americans. His art also captures the power structure dynamics of American culture and its relationship with African Americans throughout history. Even their collaborations were a commentary on what they saw in American society during their lives. Both Basquiat and Warhol created an idiosyncratic American identity that existed within the recurring themes of their respective art.

 

 

 

 

 

 

 

 

Works Cited

1: “Warhol and Basquiat: The Art World’s Most Notorious Bromance.” Sleek Mag, www.sleek-mag.com/article/warhol-basquiat-bromance/.

2: Warhol, Andy. “Andy Warhol Marilyn Monroe 1967.” Lee Bontecou. Untitled. 1959 | MoMA, www.moma.org/collection/works/61240.

3: “Jean-Michel Basquiat, Hollywood Africans, 1983.” Hopper Drawing | Whitney Museum of American Art, whitney.org/WatchAndListen/1326.

4: Laing, Olivia. “Race, Power, Money – the Art of Jean-Michel Basquiat.” The Guardian, Guardian News and Media, 8 Sept. 2017, www.theguardian.com/artanddesign/2017/sep/08/race-power-money-the-art-of-jean-michel-basquiat.

5: Teeman, Tim. “The Whitney Museum’s Andy Warhol Show Is More Than His Greatest Hits.” The Daily Beast, The Daily Beast Company, 7 Nov. 2018, www.thedailybeast.com/the-whitney-museums-andy-warhol-show-is-more-than-his-greatest-hits?ref=scroll.

 

 

 

ART 1010 – Final Project

Sadika Chowdhury

Art 1010 Final Paper

Prof. Shaw

12/10/18

The Role of Women in the Ancient World

Art is a huge part of ancient history. Ancient art provides insight from the past about many different civilizations. Ancient art displays the scenarios of society, cultures, and traditions of the ancient world. It reflects the life of people during that period as well as the role each plays, including, man, women, children, and God. In artworks from early civilizations such as Ancient Egyptian, Ancient Roman and Ancient Greek women were represented differently in each civilization. The way women were portrayed in art tells much about the status and roles of women in society and the place where men wanted them. Since prehistoric times women have been portrayed in art, giving an impression of the perception the artist and the culture they lived in, had of women. In ancient Greece, the main role of women in Greek society was as a wife bearing and raising children. The wives also performed women’s work which included spinning, weaving, baking bread, cooking, serving, cleaning, and fetching water. Women were not inferior to men in many ways. Men and women had different roles in ancient Greek society. Their role did not encourage women to excel in the areas that men took on. The men felt the women should be subservient to the men and men were head of the family. Similarly, in ancient Roman, women also seemed like someone in charged of taking care of family, children, and husband, they were in charge of taking care household, but the men were the head of the household. Women’s role can be seen in art as lower than man; women were not allowed to vote or rule. Since women did not usually have a public role, it emphasizes not actions she took in life but rather the characteristics which the Romans considered to be those of an ideal wife. For this reason in women in ancient Roman artworks seemed inferior socially. In ancient Egypt, although men and women had different roles in society. However, unlike in many ancient civilizations, women were much more free, although they were not equal with men, both men and women in ancient Egypt accepted that everyone had their roles in the natural order of the universe and that the roles of men and women were different. In the art, from the formal paintings on tombs, the Egyptian stereotype of a woman was that of wife and mother, the husband being the head of the household. She worked indoors (mostly), out of the Egyptian sun, so her skin was lighter than that of her male counterparts. When she died, she was painted red, as were the men, as this was the color of rebirth.

Shabty of Lady Sati

Artist: Unknown

Credit Line: Charles Edwin Wilbour Fund

Date:  ca. 1390-1352 B.C.E.

Museum: Brooklyn Museum

Civilization: Ancient Egypt

This is the tomb of a woman, who is in the process of gender transformation. The ancient Egyptians believed that for a deceased woman to rebirth, she had to turn into a man. The woman transforms into a man to conceive herself so she can be reborn into the afterlife and live out eternity as a woman. Then, they were believed to come to life in the afterlife and help the deceased, especially with agriculture and manual labor. In the eyes of ancient Egyptians, the woman in this tomb has become a man, since she has a male face and hands since they are colored red, the “male” color. This use of color magically transformed her into a male being. In ancient Egyptian art, the color separate the gender, women were usually shown with whitish-yellow skin and men were shown with reddish-orange skin. A red face and hands also identified the deceased with the sun-god, Re, who traveled in a boat across the sky by day and into the land of the dead at night. This woman’s “male” red skin gave her access to transportation to the next life in the god’s boat. According to the Brooklyn Museum’s exhibition some background information from “A Woman’s Afterlife: Gender Transformation in Ancient Egypt” states that “the ancient Egyptians believed that in human reproduction it was the man who created the fetus, transferring it to the woman during intercourse, rebirth was impossible for a woman alone.” This clearly demonstrates the role of women in ancient Egypt, they were viewed as weak, they have to be supported by the men, and the men get full credits for her rebirth and even for to reproduce and conceive a child.

Queen Nefertari being led by Isis

Artist: Charles K. Wilkinson

Date: ca.1279–1213 B.C.

Museum: The Metropolitan Museum of Art

Civilization: Ancient Egypt

This artwork displays queens Nefertari, who was the main wife of Pharaoh Ramses II. This watercolor depicts the queen being led by the goddess Isis. Note that it shows Nefertari without her husband, Ramses II, this indicating the queen’s high status that allowed her to interact with the deities without him directly. In the article “Women in Ancient Times” reveals a different aspect of women role in ancient Egypt, it talks about Cleopatra and Nefertiti. It states “she single-handedly controlled the most powerful throne at that time for 21 years (51– 12 August 30 BCE). She was the last active pharaoh of Egypt…Even during her exile and the Roman Civil War, she remained true to her title and held her own until her death at age 39.” this article also mentions that “Nefertiti reined Egypt with her husband Akhenaten until 1330 BCE, sometime before Cleopatra. She ruled briefly alone after her husband’s death. She changed the way women were viewed from a political and leadership standpoint.” Example of these two great women of ancient Egypt demonstrates that ancient Egypt was not entirely man-dominated, women role was also important, it did provide women with some rights, freedom, and control, unlike other civilizations.

Statue of Dionysos leaning on a female figure (“Hope Dionysos”)

Artist: Pacetti, Vincenzo

Date: 27 B.C.–A.D. 68

Museum: The Metropolitan Museum of Art

Civilization: Ancient Roman

This is a figure of Dionysos, god of wine and divine intoxication. He is wearing a panther skin over his short chiton and his high sandals with animal heads on the overhanging skin flaps. He is also standing beside and leaning on a female figure. The size of the man and the woman figure in this artwork tells a lot of the role each play in the ancient Roman Society. The man figure is tall, the woman in short even though she is standing on a high stone, this is portraying the fact that no matter how hard the woman try she will still be below the man, and never will be able to reach the same height as the man. Also, it illustrates that woman and man are not equal; man is more superior. The male figure is leaning on the female figure’s head as if he is resting his arm which indicates that in Roman society a woman’s role is to take care of the family, children, husband, and to make sure the man is satisfied. In the article “The Role of Women in the Roman World” states “Roman women had a very limited role in public life. They could not attend, speak in, or vote at political assemblies and they could not hold any position of political responsibility…women were closely identified with their perceived role in society the duty of looking after the home and nurture a family.” This explains the artwork “Statue of Dionysos leaning on a female figure,” which reflects the role of women in ancient Roman society as inferior to men. Women and man had very different levels of status, and women were under incharge of man, there in the statue, the man put his arm on the woman’s head as displaying that she is his property and under his control.

Terracotta lekythos (oil flask)

  

Artist: Unknown

Credit Line: Fletcher Fund, 1931

Date: ca. 550–530 B.C.

Museum: The Metropolitan Museum of Art

Civilization: Ancient Greece

The art in this vase represents the women’s role in ancient Greece society. It displays women are making woolen clothes. One of the most important responsibilities of women in Ancient Greek society was the preparation of wool and the weaving of cloth. In the center of the vase, two women work at an upright loom. To the right, three women weigh wool. Farther to the right, four women spin wool into yarn, while between them finished cloth is being folded. Similar to Roman society, Women in the ancient Greek world had few rights in comparison to male citizens. Unable to vote, own land, or inherit, a woman’s place was in the home, taking care of the home, raising children, preparing food and cook, and weave cloth. They journeyed outside of the home to fetch water and to attend festivals. In the article “Women in Classical Greece” Hemingway states that “young girls between the ages of five and puberty were selected to serve the goddess Artemis in her sanctuary at Brauron. As “little bears,” they acted out the role of untamed animals that eventually would be domesticated through marriage.” This indicates that there were many rules, rituals, regulations, restrictions, and societal norms associated with women, and these apply from birth and late as the age of five. In ancient Greek culture, Women didn’t have any rights. The men had all the power over them. In fact, this system is called patriarchy, when the father of the oldest male figure is the head of the household. Women were not even allowed to eat and sleep in the same room with men. Therefore, many of the Greek artworks portraits women doing activities inside the house, and surrounded by women, just as displayed in the vase artwork.

Hence, art tells stories, and if we look deeper into ancient history, we can see that the depiction of women in art, which tells the story of women during that period. Throughout the ancient world, women were portrayed and treated differently in their society. They were bounded by the rules, regulations, norms, rituals, and expectations. Different civilizations have displayed the role of women differently. Although in ancient Egyptian culture, women were much freer compared to ancient Greece and ancient Rome, but not all the women in ancient Egypt had that same opportunity to live freely, only high-class women had that in favor. One societal perception which was common in all of these civilizations which is women’s role in the society was inferior, while men were the superior in all the cultures. And perhaps still today, we can often see around the world how people still fighting for gender equality, equal pay, and equal rights. It is important to acknowledge and visit the ancient history and compare the fact that it has been over centuries, but still today the role of women have remained the same in many countries in the world. Since in the world women are still fighting for their rights and seeking for their position in society, it indicates that the societal perception of men and women’s role have always remained the same as the ancient time; we have just moved on with the time, but our ancient attitude have stayed in our head.

 

Works Cited

Cartwright, Mark. “The Role of Women in the Roman World.” Ancient History    Encyclopedia, Ancient History Encyclopedia, 22 Feb. 2014, www.ancient.eu/article/659/the-role-of-women-in-the-roman-world/.

Hemingway, Colette. “Women in Classical Greece.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/wmna/hd_wmna.htm (October 2004)

Livermore, Melina. “Women in Ancient Times.” Art News Portal, 26 Oct. 2016, www.artnewsportal.com/art-news/women-in-ancient-times

“A Woman’s Afterlife: Gender Transformation in Ancient Egypt.” Organized by Edward Bleiberg, Brooklyn Museum: The Dinner Party by Judy Chicago, 15 Dec. 2016, www.brooklynmuseum.org/exhibitions/womans_afterlife_ancient_egypt.

Artworks from The Metropolitan Museum of Art and The Brooklyn Museum

 

 

 

 

Final Project Outline/Background

Jan Steen
Merry Company on a Terrace
Ca. 1670
Metropolitan Museum of Art

 


Attributed to the Master of the Martyrdom of St. Sebastian
Hercules and Achelous
Approx. mid-17th century
Metropolitan Museum of Art

 


Jean Cornu
Venus Giving Arms to Aeneas
1704
Metropolitan Museum of Art

 


Domenichino
The Lamentation
1603
Metropolitan Museum of Art

 


Adriaen Brouwer
The Smokers
Ca. 1636
Metropolitan Museum of Art

Something that is noteworthy within all the artworks above is the exaggerations of the postures and facials expressions of the subjects used to covey drama and strong emotions within the viewer. The way the subjects are “moving” in the works makes for well-intended illustration of theatrical drama. In addition, the use of the contrast of light and dark color brings attention to the certain parts or characters. These key components are most prominent in the chosen artworks as well as the majority of Baroque art.

Annotated Bibliography

The Atlantic Monthly; August 1963; Letter from a Birmingham Jail; The Negro Is Your Brother; Volume 212, No. 2; pages 78 – 88.

This article was a letter written by Martin Luther King Jr. The letter discusses the urgency to have a nonviolent protest. He stresses the many reasons as to how important having a nonviolent protest would be. This article is useful to my topic because Martin Luther King Jr. is one of the pioneers who helped contributed to black people having the same rights as white people.

 

Bortolot, Alexander Ives. “The Transatlantic Slave Trade.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/slav/hd_slav.htm (October 2003)

This essay discussed about the transatlantic slave trade. It was an exchange mainly between Africa, Europe, and America. As America was forming they needed more laborers. Europe was constantly conquering and needed slaves as well. Slaves were brought through the Atlantic ocean from Africa to Europe to America. Black people had no say as to what they wanted to do. They were treated like objects and properties instead of human beings. This essay is related to my topic because it discussed the struggles that black people went through.

 

X, Malcolm. Malcolm X Speaks: Selected Speeches and Statements  https://books.google.com/books?hl=en&lr=&id=ShfNyQrAa-YC&oi=fnd&pg=PR7&dq=malcolm+x+and+racism&ots=BA-eMqObLI&sig=SvyLqzvGHAAfy1IBpWq_o-Afua8#v=onepage&q=malcolm%20x%20and%20racism&f=false

This book by Malcolm X discuss some of the important speeches that he wrote. He discusses the involvement that he will be in regarding human rights for black people. He also discusses the meaning of a revolution. This book is relevant to my topic because Malcolm X helped black people gain the freedom and help preserve through the struggle even though it was in a violent way.

 

Clayton, Dewey M. “Black Lives Matter and the Civil Rights Movement: A Comparative Analysis of Two Social Movements in the United States.” Journal of Black Studies 49.5 (2018): 448-80. Web.

This article depicts a comparison between the Black Lives Matter Movement and the Civil Rights Movement. In the 1960s, African Americans were fighting to have racial equality as white people. In today’s time, African Americans are now fighting from police brutality against white police officers. In both movements black people had to fight and are still fighting to get the justice that they deserve as human beings. This article relates to my topic in that it talks about the struggles that black people have gone through and are still going through.

 

Davis Y., Angela. Women, Race, & Class  https://books.google.com/books?hl=en&lr=&id=74QzFiv1w10C&oi=fnd&pg=PA30&dq=angela+davis+and+race&ots=HqEu78QMt0&sig=NOOdacGfAvIYXw89RgCC_Sac2vM#v=onepage&q=angela%20davis%20and%20race&f=false

This book discusses the Anti-Slavery movement and women. The anti-slavery movement is an abolishment society. Men who were free joined together to create this movement. White women eventually decided to join to show that they were more than just housewives. They wanted have rights just like black people. This is relevant to my topic because it discusses about African American hardships.

 

Annotated Bibliography

Dr. Renee M. Gondek, “Introduction to ancient Greek art,” in Smarthistory, August 14, 2016, accessed December 9, 2018, https://smarthistory.org/greek_intro/.

-This source by Dr. Renee M. Gondek describes an introduction to ancient Green art while going in depth on language, religion, and culture of different time periods. This can be useful for my project and proposed thesis statement because Gondek talks about the introduction of Greek art in the Archaic period with the stand still statue of Kouros.

 

Dr. Bryan Zygmont, “Hiram Powers, The Greek Slave,” in Smarthistory, January 24, 2018, https://smarthistory.org/hiram-power-greek-slave/.

-This source by Dr. Bryan Zygmont is about the story and origin of the Greek Slave and how it became a well known sculpture. This can be useful for my project because it provides a deep analysis of the sculpture itself as well as Hiram Powers’ (the artist) meaning behind the features of The Greek Slave. Through defining the female nude of the slave, I would be able to further argue my thesis of how Greek and Roman art used the human body to tell a story and symbolize beauty through experience.

 

Dr. Beth Harris and Dr. Steven Zucker, “Marble statue of a kouros (New York Kouros),” in Smarthistory, December 20, 2015, accessed December 9, 2018, https://smarthistory.org/marble-statue-of-a-kouros-new-york-kouros/.

-This source by Dr. Beth Harris and Dr. Steven Zucker provides two videos on the Kouros itself. This is simply an all about video on the Kouros and what each feature of the stand still sculpture represents. This is helpful for my project because it offers descriptions on the kouros and what the body represents. This relates to my thesis on why the human body was used in Greek and Roman art.

 

Gisela M. A. Richter. “The Greek Kouros in the Metropolitan Museum of Art.” The Journal of Hellenic Studies, vol. 53, 1933, pp. 51–53. JSTOR, JSTOR, www.jstor.org/stable/627245.

-This scholarly article by Gisela M. A. Richter is about the Kouros in The Metropolitan Museum. This article provides the significance of the statue of Kouros as well as information on the preservation of the Kouros and how it made its way into The Metropolitan Museum. This article is useful because it provides information on the Kouros and what the human body symbolizes in the statue.

 

Mattingly, Harold. “THE REIGNS OF TREBONIANUS GALLUS AND VOLUSIAN AND OF AEMILIAN.” The Numismatic Chronicle and Journal of the Royal Numismatic Society, vol. 6, no. 1/2, 1946, pp. 36–46. JSTOR, JSTOR, www.jstor.org/stable/42661251.

-This scholarly article by Harold Mattingly is about the reigns of emperor Trebonianus Gallus. This article offers a brief history on the reigns of Trebonianus Gallus. This can be useful for my project because I can use his experiences to describe why the sculpture is the way it is.