The Effect of WWII on the Visual Arts Essay Example for Free

The Effect of WWII on the Visual Arts Essay The global trauma of World War II, particularly the events that took place at Auschwitz and Hiroshima, caused dramatic changes in the visual arts. New ideas and criticisms of culture and society had come about, and artists were respondingconsciously and unconsciouslyto the war. New ideas about the arts had emerged shortly after the war. The long-standing notion that the arts make society more civilized and raise people above their instincts of fear and violence was proven untrue. Consequently, arts very right to exist came into question. In 1949, Theodor Adorno stated in his essay, Cultural Criticism and Society, that to go on writing poetry after Auschwitz is barbaric. He argued that new rules and conventions for art must be found and the old ones must be abandoned. One major attempt in creating these new rules and conventions is when arts main concern shifted from object-making to performativity. Jackson Pollock was among the first to make this transition. With his all-over drip paintings of the late 1940s, he had successfully liberated painting into becoming a kind of performance. His process has been described as a kind of dance with the canvas and paint. When examined closely, the viewer can trace the first marks made to the very last ones. In response to the controversy surrounding his method of painting, Pollock stated that New needs need new techniquesthe modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. His mention of the atom bomb proves that Pollocks method was a kind of response to the trauma of WWII. An artist as equally performative as Pollock was Lucio Fontana. In works such as Concetto Spaziale, Fontana attacks the surface of the canvas, thereby focusing the viewers attention on art-making as an action. This could also be seen as a literal attack on the medium of painting. In the Manifesto Blanco, Fontana stated that We live in the mechanical age. Painted canvas and upright plaster no longer have a reason to exist. This was a proclamation of his goal to create spatial art, art that is more engaged with technology. Similar to Fontanas attacks on the canvas, Shozo Shimamoto would repeatedly puncture the painting surfaces of his works. He also experimented with smashing bottles filled with paint onto the canvas. Shimamoto was a member of the Gutai Art Association, a group founded in Osaka, Japan which explored new areas of perfomativity and innovated the proto-happening. These early performative artists were not consciously addressing the trauma of the war in their art, but this shift to performativity suggests an unconscious response to it. In contrast, other artists were responding very consciously to what had happened during the war. The Nouveaux Rà ©alistes in France were the first to do this. Artists that belonged to this group included Arman,Yves Klein, Daniel Spoerri, Joseph Beuys, and Jean Tinguely. These artists stayed within the Bourgeois paradigm of art, but their art was clearly a conscious response to Auschwitz and Hiroshima, since many of the titles of their artwork make direct references to these events. Yves Klein, for example, named one of his monochrome IKBs Hiroshima, a negative anthropometric painting showing dead bodies after the nuclear attack. Arman did many pieces that dealt with Auschwitz by showing negative presentations of Nazi victims through accumulations of their belongings. In the early sixties, Arman became more performative with his combustion pieces, probably an influence from the Happening which started taking place in New York around 1959. The happening brought about one of the most important changes when the audience was made to play a major role in the outcome of the piece. A much more significant movement than the Happening, however, was Fluxus, an international movement consisting of many different kinds of artists from many different ethnicities. It is practically impossible to combine all Fluxus artists into a single group, since their art ranges from anti-expressionist to hyper-expressionist, political to not political at all. Whereas Happenings were unconscious of their politics, some Fluxus artist created highly political art. Those in favor of anti-expressionism were following the example of John Cage, while another tendency, inspired by the Living Theater, created highly expressive art. The struggle with World  War II was fully conscious with the Living Theater, which, like the Happening, would involve audience participation. Fluxus was the alternative to Pop art, which was taking place at the same time. Though both consciously addressed the war, Pop art sometimes seemed to glorifyor bring attention tothe American way of life after the war, as in James Rosenquists F-111. His most famous antiwar painting, F-111 combines images of a fighter plane, a nuclear bomb, and a little girl sitting under a hair dryer. Such art can be seen as a reflection of the Wests collective response to Auschwitz and Hiroshima; they denied that it had to do with capitalism, did not agree with the idea of Instrumental Reason, and were, on the whole, optimistic, still enjoying life after the war. In conclusion, following the tragedy of World War II, art has never been the same. Artists realized that they could no longer continue making art in the same way that they did before the war, acting as if nothing had happened. Performativity and politicized art were perhaps the most significant of these changes. Whether unconscious or conscious, performative or not, responses to the horrific events of Auschwitz and Hiroshima can be seen in many postwar art, and the trauma of these two events can be seen even in the art of today.

acters and actresses Essay -- essays research papers

Actors and Actress   Ã‚  Ã‚  Ã‚  Ã‚  Actors and Actresses are some of the most driven, courageous people on the face of the earth. They deal with more day-to-day rejection in one year than most people do in a lifetime. Each day, actors/actress face the financial challenge of living a freelance lifestyle, the disrespect of people who think they should get 'real' jobs, and their own fear that they'll never work again. Every day they have to ignore the possibility that the vision to which they have dedicated their lives is a pipe dream. With every passing year, many of them watch as the other people their age achieve the predictable milestones of normal life-the car, the family, and the house. Though to become an actor or actress one must follow a certain guideline (an education) as any other career does.   Ã‚  Ã‚  Ã‚  Ã‚  To begin with, to become an actor or an actress a person must start with their education young. In High School a student should put their minds in the fields of Performing Arts in other words Drama (Crafton 32). There they would learn the basic terms and history of Acting. There are two clear avenues to turn to while becoming a professional actor. One is just as trivial and nearly futile as the other, but someone who truly wants to pursue the field will tolerate the hardships. The first path is, logically enough, is go to drama school. Formal training is not a must, but it helps if one wants to be a professional actor (Harrop 147). If you have studied the craft it gives you a leg up over anyone else looking for the same job. To enter a school solely for acting, not just the drama department of a larger university, SAT scores and high school record aren’t always looked at. For some drama schools, a complete high school education isn’t even needed. How ever, the more prestigious the school, the higher the standards are. If you were to try to get into the Performing Arts College at, say, Columbia University in New York, the requirements are much higher at the testing level. At any school, no matter Ivy League or community college, to enter the performing arts department one has to audition. In continuance, some drama students may sometimes require a singing audition as well as monologues. After all, the most popular form of stage drama is the musical. Naturally, entrance essays are needed as well as recommendation lette... ..., you must get a formal training at an acting school as well as staying involved with as many shows as possible building up your rà ©sumà ©. Being an Actor/Actress is a hard career to pursue and if pursued a lot of talent as well as patience is needed in order to accomplish. Although an education is not needed to be an actor or actress, you should never escape it. Education is an essential part of our lives and the world we live in and forever it always will remain important for whatever career you choose to enter including acting. Work Cited Crafton, Allen. Acting; a Book for the Beginner. New York: F. S.Crofts, 1928. Haase, Cathy. Acting for Film. New York: Allworth Press, 2003. Harrop, John. Acting. New York: Routledge, 1992. Occupational Outlook Handbook.21 Mar. 2004. Bureau of Labor Statistics, U.S. Department of Labor.27 Nov. 2004. â€Å"Oprah Winfrey Biography.† About Oprah. 2004. Harpo Productions. 18 Nov. 2004. â€Å"Oprah Winfrey Entertainment Executive.† Academy of Achievement, A Museum of Living History. 3 Mar. 2003. Academy of Achievement. 19 Nov. 2004. Moore, Dick. Opportunities in Acting Careers. Lincolnwood (Chicago), Ill: VGM Career Horizons, 1999.

Do you think the strategic Essay

Do you think the strategic use and display of emotions serve to protect employees, or does covering your true emotions at work lead to more problems than it solves? By farhanzscania As this chapter has shown, emotions are an inevitable part of people’s behavior at work. At the same time, it’s not entirely clear that we’ve reached a point where people feel comfortable expressing all emotions at work. The reason might be that business culture and etiquette remain poorly suited to handling overt emotional displays. The uestion is, can organizations become more intelligent about emotional management? Is it ever appropriate to yell, laugh, or cry at work? Some people are skeptical about the virtues of more emotional displays at the workplace. As the chapter notes, emotions are automatic physiological responses to the environment, and as such, they can be difficult to control appropriately. One 22- year-old customer service representative named Laura who was the subject of a case study noted that fear and anger were routinely used as methods to control employees, and employees eeply resented this use of emotions to manipulate them. In another case, the chairman of a major television network made a practice of screaming at employees whenever anything went wrong, leading to badly hurt feelings and a lack of loyalty to the organization. Like Laura, workers at this organization were hesitant to show their true reactions to these emotional outbursts for fear of being branded as â€Å"weak† or â€Å"ineffectual. † It might seem like these individuals worked in heavily emotional workplaces, but in fact, only a narrow range of emotions was deemed acceptable. Anger appears to be more acceptable than sadness in many organizations, and anger can have serious maladaptive consequences. Others believe organizations that recognize and work with emotions effectively are more creative, satisfying, and productive. For example, Laura noted that if she could express her hurt feelings without fear, she would be much more satisfied with her work. In other words, the problem with Laura’s organization is not that emotions are displayed, but that emotional displays are handled poorly. Others note that use of emotional knowledge, ike being able to read and understand the reactions of others, is crucial for workers ranging from salespeople and customer service agents all the way to managers and executives. One survey even found that 88% of workers feel being sensitive to the emotions of others is an asset. Management consultant Erika Anderson notes, â€Å"Crying at work is transformative and can open the door to change. † The question then is, â€Å"Can organizations take specific steps to become better at allowing emotional displays without opening a Pandora’s box of outbursts? â€Å"

Ethical Issues in Film Erin Brockovich Essay - 552 Words

Ethical Issues in film Erin Brockovich There are many ethical issues in the movie Erin Brockovich. This movie is about a mother of three who uncovers a water poisoning case by Pacific Gas Electric Company (PGE) in southern California. Erin has the responsibility to feed and educate her three children and she has a general distrust of people. She begins by forcing her lawyer Ed Masry to give her a secretarial job after he failed to get her a settlement from an auto accident. She doesnt exactly fit in at the firm. Other female co-workers do not approve of her cleavage that she shows. Women in the office dont include Erin in going out to lunch and even helping her out when she asks for assistance. There are†¦show more content†¦This representative is perceived to be a heartless person who is not taking responsibility for the damage his company has caused to families like the Jensen’s in the community of Hinckley. Another example of the company, and therefore business world, being rightfully portrayed in a negative light was when an assumed employee from PGE actually calls to threaten the safety of Erin and her children. Erin is threatened by this person because PGE know that she has valuable information that could prove their fault in the health issues of Hinckley community members. Clearly, this act portrays the business world in a damaging way, and I believe we would all hope that our companies would never act in a way to threaten an innocent mother and her family. PGE did not care for others; otherwise they would have changed their policies to stop the use of harmful chemicals. The only employee who I would suggest to be at a higher level on Kohlberg’s scale was a man named Charles Embry who approached Erin toward the end of her investigation. He was instrumental in this law suit because he had saved the documents that PGE had requested to destroy because he knew it was unethical to destroy the evidence of harmful chemicals. He watched his cousin pass away at only 41 years old, after suffering nose bleeds while cleaning the cooling towers, having hisShow MoreRelated Ethical Issues in film Erin Brockovich Essay1534 Words   |  7 PagesEthical Issues in film Erin Brockovich There are many ethical issues in the movie Erin Brockovich. This movie is about a mother of three who uncovers a water poisoning case by Pacific Gas Electric Company (PGE) in southern California. Once it was proved that the company had knowingly dumped hexavalent chromium into the ground water, the utility company was found liable for a $330 million dollar verdict. 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