La vida y el trabajo de Pablo Picasso Essay - 948 Words

Pablo Picasso o Pablo Diego Josà © Francisco de Paula Juan Nepomuceno Marà ­a de los Remedios Cipriano de la Santà ­sima Trinidad Martyr Patricio Clito Ruà ­z y Picasso nacià ³ 25 de octubre 1881 en Mà ¡laga, Espaà ±a, los padres de Josà © Ruiz Blasco y Marà ­a Picasso y Là ³pez. Picasso tuvo dos hermanas menores Dolores y Concepcià ³n, llamada Conchita, que murià ³ a la edad de cuatro. La muerte de Conchita afectada Picasso en los aà ±os venideros en su vida posterior. Picasso murià ³ en Francia en abril de 1973. La familia de Picasso era de clase media. Su padre, Ruiz, fue un pintor y por la mayor parte de su vida Ruiz era un profesor de arte en la Escuela de Oficios y un conservador de un museo local. Ruiz animà ³ a su hijo y le ayudà ³ con su arte. Tal vez a causa de†¦show more content†¦Picasso no estaba de acuerdo con las normas y estructuras establecidas por la escuela y pronto comenzà ³ a faltar a clases para dibujar la ciudad que lo rodea. A los diecisà ©is aà ±os, su padre decidià ³ enviarlo a la Real Academia de San Fernando de Madrid, la mejor escuela de arte en el paà ­s. Pero Picasso volvià ³ a ser aburrido de la instruccià ³n formal y dejà ³ de asistir a clase y se retirà ³ de la escuela poco despuà ©s de la inscripcià ³n. Picasso escribià ³ a un amigo durante este tiempo para decir Ellos sà ³lo tiene que ir y seguir sobre lo mismo de siempre: Velà ¡zquez de pintura, Miguel à ngel para la escultura. (Picasso Biography A) La relacià ³n entre Picasso y sus padres se volvià ³ tensa despuà ©s de que à ©l se retirà ³ de la escuela. Su madre y su padre no entendà ­an y estaban decepcionados con Picasso. Despuà ©s de salir de la escuela Picasso se trasladà ³ de nuevo a Barcelona. Mientras que en Barcelona, Picasso fue influenciado por la ciudad a su alrededor, incluyendo la obra de Antoni Gaudà ­, un arquitecto espaà ±ol. Picasso comenzà ³ tambià ©n a un cafà © frecuente conocida como Els Quatre Gats. Radicales y anarquistas se reunieron allà ­, y lo persuadieron a alejarse de arte clà ¡sico y asà ­ comenzà ³ una serie de exploraciones en la obra de Picasso. Los amigos que conocià ³ en Els Quatre Gats, tambià ©n le animaron a visitar Parà ­s para trabajar y Picasso mà ¡s tarde comenzaron los desplazamientos entre las

Catch the Moon Free Essays

Imagery is an important part of the novel story â€Å"Catch the Moon† by Judith Ortiz Cofer. The The story is about a trouble maker named Luis Cintron who has just gotten home from juvenile hall. Luis works in his father’s junkyard; he is not the happiest teenager doing that job. We will write a custom essay sample on Catch the Moon or any similar topic only for you Order Now The author uses the literary element imagery to allow the reader to experience what Luis is experiencing. The author states, â€Å"She stood in the sunlight in her white sundress waiting for his father, while Luis started. She was like a smooth wood carving. Her skin was like mahogany color. † She is being Described as a dark skinned, graceful girl in a white dress. This description involves the sense of sight. The reader can picture Noami perfectly. (Pg. 64) The text states perfectly, â€Å"Eat the yellow rice and red beans, the fried chicken, mouth watering sweet plantains that his mother had cooked for them. † The description gives the reader an example of the color, flavor, and smell of the food. The author uses imagery to engage the reader’s sense of taste in the story. (Pg. 66) The story appeals to the sense of touch when the author states, â€Å"When it was almost midnight, Luis’s hands were cut bruised from his work†. This demonstrates imagery involving touch and the reader Imagines how Luis’s hands were cut, and bruised from his work. The imagery referring to touch is a great example of how things can be imagined in the reader’s head. Pg. 68) In conclusion, â€Å"Catch the Moon† is a story full of imagery. Luis is attracted by Naomi, she gets described really well, she helps Luis stay out of trouble and to stay on the right path. The food in the story was described in a great imagery of taste and smell. The imagery the author uses for touch gives the reader an idea of how Luis go cut and bruised. Using imagery in the story is a good way to read the experience of the characters. How to cite Catch the Moon, Papers

Cyborg performance Essay Example For Students

Cyborg performance Essay Explore the relationship between the body and technology in the work of Orlan and StelarcA performer is essentially composed of two entities: the self and the representation of the self. The human body is the physical manifestation of this represented self and is interpreted by the observer depending on its gender, age, colour, attractiveness, adornment and perceived disabilities (these perceptions often being culture-bound as well). In addition to this, the performer uses make-up and costume, and interactions with the performance space to affect the interpretation. For the focus of a performance space, what better place to start with than this powerful physical signifier?In performance, there is a tendency to perceive the actor and the body as a very separate entity to the concrete, technological elements of the stage. Orlan and Stelarc, contemporary performance artists, challenge this perception Mcclellan (1994, para.14) describes them as the post-human Adam and Eve, suggesting th at they are heralding in a new breed of performer, inextricably related to, and even created by, technology. This certainly reflects the role of the body and technology in current Western society medical technology can create life in vitro and, defying nature, can alter its intrinsic genetic makeup, and internet technologies can allow a person to project a fabricated disembodied persona onto the net to interact with others over vast distances. Orlan and Stelarc embrace technological integration as a prerequisite to their work the questions lie in what it means to the self if the way in which it is represented (the body) is altered. In combining aspects of endurance and durational performance art, Orlan presented the alteration of her own body in the surgical theatre. The Reincarnation of Saint Orlan is her most well-known piece of work, begun in 1990. However, she did begin performing in the 1960s when, even then, she demonstrated a subversive attitude towards the body. In 1964 she used her own body as a unit of measurement (Orlan-corps) to measure public buildings (Flande ed., Biography, www.orlan.net). This project continued into the late 1970s. The reduction of her body to a tool of measurement was the less extreme forerunner to the reduction of it as a canvas in The Reincarnation of Saint Orlan. In both pieces, she objectifies her body, however in The Reincarnation of Saint Orlan, the implications on herself and her audiences are far more controversial. A surgical textbook defines ideal beauty as that of a white woman whose face is perfectly symmetrical in line and profile (Balsamo cited in Auslander, 1997, p.129). Ethnocentric definitions such as this one inevitably affect the way in which beauty is idealised in fine art. These idealisations were the inspiration for The Reincarnation of Saint Orlan. The project was a series of officially nine surgical operations, undertaken with the intention of altering parts of Orlans body to imitate those of iconic images of female beauty including Renaissance works such as Da Vincis Mona Lisa and Botticellis The Birth of Venus. In the self-consciously ironic attempt to recreate perfect beauty, Orlan turns a Western canon of images against itself and effectively undermines it. Orlan herself describes her work as Carnal Art that which is self-portraiture in the classical sense but made by means of todays technology (www.orlan.net). Orlan suggests that, by undergoing surgery, she is creating a work of art which is classical in that it presents an idealised aesthetic; however, she uses herself as the raw material. Cosmetic surgeons operate on her body and face whilst Orlan is under a local anaesthetic. Her mundane actions of reclining and reading a book (see appendix 1: Fourth Surgery-Performance) are performative in that they are deliberated to create juxtaposition with her mutilated body. The audience would expect surgery to normally be performed under general anaesthetic and therefore, for a conscious person to express feelings of pain and discomfort Orlan, however, remains calm throughout. If she were to remain unconscious and passive, it would be more comfortable for the audience to observe the operation; Orlans conscious involvement creates a disparit y between how the audience expect the human body to react to surgery and her seeming indifference. Her status is raised as she is as active as the other performers the surgeons. Orlans performative self is therefore disengaged with her body, which functions as an artistic medium, rather than as a mode of direct expression. Her body being subjected to medical technology does not seem to affect Orlan herself. The desired outcome of the surgery is specified by Orlan in the form of a wall hanging in the background of the stage; (see appendix 1) the hanging is of the face of Botticellis Venus. From a contemporary point of view, this puts the observer in mind of before and after pictures paraded on television programmes such as Extreme Makeover, first broadcast in September 2003 (News You Can Use, www.abc.com). Orlans work was strangely prophetic in that she exposed how easy and mechanical it could be to prescribe a desired form for the body and to fulfil it. The popularity and growth of the cosmetic surgery industry has now permeated Western society to the point where it is used as a form of entertainment something that Orlan had, in a sense, already done by theatricalising the process. The use of the images is also suggestive of media advertising. Physical environments constantly remind individuals of what they should be aspiring to, in television, cinema, bill boards and, more recently, o n the internet. The hangings in her performances reinforce the importance of the ideal image and the desire to achieve it. Child Abuse1 EssayStelarc demonstrates the bodys controllability in the face of technology in Fractal Flesh (1995). His body is connected to the internet via computer-interfaced muscle stimulators. These are activated by the audience on the web. Like Orlan, Stelarc objectifies the body by removing it from the control of the self. He hands over control to the audience through technology, hoping that the effect will be like electronic voodoo (Stelarc cited in Shurman, 1994, para.2). Considering this statement, and when comparing Suspension to nineteenth century Native American Sundance rituals, it seems that Stelarc unintentionally evokes a spiritual side to his work. The involvement of the audience in Fractal Flesh is similar to that of communal rituals and religious which were at the roots of modern performance. In some senses, the performative self has always been separated from the body through spiritual beliefs, before the advent of technology. The body in Fractal Flesh becomes a vehicle, perhaps not for the gods, but for the members of the audience who themselves are physically removed from the space primarily by the internet and also by physical distance. In this instance, Stelarc hands over control to the audience where Orlans audience experience no such luxury as they bear uncomfortable witness to her performances. This, again, demonstrates Orlans choice to make her body endure technology for arts sake, where Stelarc simply wants to show that the body can be altered in its functionality. One of Stelarcs pieces which does not necessarily work to this aim is Stomach Sculpture (1999). It is more comparable to The Reincarnation of Saint Orlan in that it explores the body as a vehicle for art and image, and involves more physical endurance on the part of the artist. Stelarc starves and distends his stomach before inserting a five by seven centimetre capsule, composed of surgical quality metals and which emits light and sound. The aim of the piece is for the body to become a host, not for a self or a soul but simply for a sculpture (Stelarc, Hollow Body/Hollow Space, www.stelarc.va.com.au). Again, Stelarc reduces the status of the body to a piece of equipment, in fact, a stage just as Orlan reduces hers to a canvas. In this bizarre site-specific art, the performance space and subject have been reversed. The video images of the stomach, like Orlans surgery, become uncomfortable to view because the audience are not used to watching endoscopies as an art form. The innermost parts of the human body are exposed and mechanised, again separating them from the subjectivity of the self. This performance itself however, was problematic precisely for the reasons that Stelarc outlines himself that the body is not as reliable as technology. The performance was cut short on three occasions due to excess saliva and for medical reasons the video imaging was not entirely successful (Stelarc, Hollow Body/Hollow Space, www.stelarc.va.com.au). Overall, Stelarc represents technology in his work as an aid to the human body, although some of his robotics work, such as Third Hand has been described as pretty phallic (Griffin, 1996, para.3). This is at least a possible reading but unfounded when considering his repeated belief that the body is obsolete (Stelarc, www.stelac.va.com.au) the same belief shared exactly by Orlan (cited in Mcclellan, 1994, para.11). Unlike Orlan exploring canonical image, he is not confronting issues which may be gender-bound, but which affect all humanity. For him, image enhancement is not even an issue but rather the signs of a desperate obsolete body at the end stage of its evolutionary development (cited in Mcclellan, 1994, para. 14). Stelarc uses technology for technologys sake he is suggesting that humans have advanced so far in their manipulation of technology that it now surpasses the natural mechanism of evolution. The next inevitable step is to combine the two. In a sense, Orlan agrees with this. Despite the fact that her work may be read as a feminist critique of cosmetic surgery, in Carnal Art she decries the agony of childbirth as anachronistic and ridiculous (Orlan, www.orlan.net). She suggests that something as seemingly natural as the pain of childbirth need not be seen as an inevitable part of being female as it can now be overcome by medical technology.