Blue Monday Strip by Rebecca Horn: Themes and Techniques

Blue Monday Strip by Rebecca Horn: Themes and Techniques Artist: Rebecca Horn. Title/Date: Blue Monday Strip, 1993. Materials: Typewriters, ink, metal, and motors. Dimensions: 192 1/8 x 137 inches. Site: Solomon R. Guggenheim Museum. Provenance: Gift of the artist. Introduction to Blue Monday Strip by Rebecca Horn The work of Rebecca Horn is appealing to many in the art world. To me, it is appealing in ways that I, as a fellow artist, find particularly compelling; although we work in different media, a common theme seems to resonate when I observe her work and compare it to my own. There is a sense of the fleeting nature of our corporeal existence against a background of the mundane details of life. Her works are animated, though in a much different way than my own art is ‘animated’ The sense of activity and movement I see in her work is something that is appealing and energizing. It brings to mind the limitations of the human body, yet at the same time it brings to light the concept that human activity goes on, even though we as individuals do not. According to one biographer/critic, Horn’s work is ‘located in the nexus between body and machine’, and it ‘transmogrifies the ordinary into the enigmatic’ (Ragheb, 1993). Horn’s ability to do this with such deft yet subtle precision is part of her appeal to me as a practitioner. She can take everyday objects and juxtapose them with such uniqueness that viewers look at them in new ways. Doing this within my own medium is something I can strive for, and hope on some level to achieve; what she has done with her sculpture, in her unique way, sets a standard I can aspire to in my own chosen medium. Nowhere is this more apparent than in Blue Monday Strip, a 1993 piece that was a gift from Horn to the Guggenheim Museum in New York City. Blue Monday Strip: Salient characteristics of Form and Content Horn’s piece, Blue Monday Strip, was actually a gift that the artist bestowed upon the Solomon R. Guggenheim Museum in New York City. This dynamic work measures, in inches, 192 1/8th by 137, and is composed of ‘everyday’ (although some are somewhat dated) materials: older, or ‘vintage’ typewriters, ink, metal, and motors. A crucial aspect of this particular piece is that it is mechanized, so there is movement: it is essentially, animated, and in quite a literal sense. As an animator, this is a feature that is important to me. Ragheb has described Blue Monday Strip as a group of ‘vintage typewriters’ that ‘are liberated from the orderly office world and set akimbo, transformed into an unruly lot whose keys chatter ceaselessly in a raucous dialogue’ (1993). The monotony of the droning typewriters is clearly symbolic of the relentless sameness that was at one time experienced by the secretaries who operated them each week, starting on the first day of the work cycle—the ‘blue Monday’ An occasional splotch of blue paint—presumably ink? Might we go so far as to say sweat, or possibly tears?—breaks the monotony. The ability to breathe life into inanimate forms in such an effective and dramatic way is something that I, as an animator, find truly compelling. Another feature of Horn’s work that appeals to me is her sense of perspective; her work is based in reality—a quantifiable and verifiable reality, as I would like mine to be. In other words, much of modern art has been criticized for its abstract qualities; often a sculpture or painting will be impossible to describe until we read the title. Then we can say, ‘oh, yes, it’s clearly a pear, anyone can see that’—when in reality it looks nothing like a pear at all. Horn’s work does not have this type of abstractness: its primary components are easily identified as typewriters, but because of the mode of presentation, we are forced into seeing them in a new way. As Winterson has written, ‘art has the knack of helping us to see what we would normally miss. . . Artists see better than we do, and help us to look twice. Horns way of seeing is to go past the sensible, obvious arrangements of objects and people, and rearrange them in a way that is not obvious at all’ (Winterson, 2005). In this specific piece, the objects before us are authentic, but they are in an unusual setting, one which calls attention to them and forces us to consider them in unusual ways. Blue Monday Strip is, as the title suggests, a ‘strip’, or section, of a life that includes not just one, but several typewriters. What does this suggest, other than an office? An office on a blue Monday? A setting in which individuals—most likely women—find themselves trapped again and again, Monday after Monday, with little likelihood of change beyond the Saturday and Sunday that separate the weeks. This is the kind of thought process I would like to spark with my own work—it need not be mysterious to the viewer; it need be nothing more than what it appears to the average eye. But to those who care, or dare, to look, it will suggest ideas and themes in subtle, yet consciously planned ways. As Ragheb says of Horn’s sculpture, the viewer can see a disorganized row of machines and nothing more; or, he or she can see something further. One can feel the drain of wasted lives, the emptiness of disappointed hopes, the frustration of unfulfilled desire, by taking a second look at the forlorn collection of typewriters: ‘Whether mechanomorphic bodies or anthropomorphic machines, all of Horn’s works are fraught with sexual allusions and the ache of desire’ (Ragheb). Horn’s career has spanned over three decades, and though she has experimented with form and theme throughout, she has returned again and again to somatic themes. At times, her work is a celebration of the body, in respectful, awed praise of its power; at others, it seems a reproachful and cynical statement on the treachery of the body. Ideas, Practices, and Issues Relating to the Body Horn’s early reading stirred an interest in Surrealism and the absurd; this was further inspired in young adulthood, when she was introduced to the works of Franz Kafka and Jean Genet, and by the films of Luis Buà ±uel and Pier Paolo Pasolini (Ragheb). The absurdist philosophies of Kafka and Genet, and the obscure themes of Buà ±uel and Pasolini, are evident to a great extent in all of her works. Yet what affected her life and her work most was what she has interpreted as a betrayal of her own body. In an interview with Jeanette Winterson last year, Horn described two of the key events that caused a change in the course of her life and work. First was the onset, at age 20[i], of a serious lung condition. This was the result of working, by her own account, unprotected, with glass fibre. No one had told her that it was a dangerous material. As a result, after a period of intense work, while living in a cheap hotel in Barcelona—‘one of those hotels where you rent rooms by the hour’—she found herself dangerously ill. During this unfortunate period, she also found herself alone—both parents had died. ‘I was totally isolated’, she told Winterson. To recuperate, she was forced to spend time in a sanatorium, a setting in which her sense of isolation was magnified. This enforced period of extended rest became an experience that ultimately led her to consider the workings of the body in a new way. She began to view the body it in terms of isolation and vulnerability. ‘Thats when I began to produce my first body-sculptures. I could sew lying in bed’ (qtd. in Winterson, 2005). What resulted from this period were a series of designs ‘that would extend her body’ explains Winterson (2005). Apparently, this was more than a reactionary phase, as Horn continued on this trajectory after her release from the sanatorium. Back at art school, she worked with soft materials, such as prosthetic bandages and padding, creating protective, cocoon-like pieces. Works from this early period include Finger Gloves (1972), Pencil Mask (1972), and Black Cockfeathers (1971). According to Winterson, ‘isolation becomes a message in a bottle; the viewer can retrieve what is inside’ (2005). Eventually Horn gravitated more and more into performance art, but instead of abandoning the body-extension sculptures, she used them as part of her performance (Ragheb). The limitations of the body, and of one’s time on earth, are apparent even as the actions of Horn’s mechanized sculptures suggest endless time. There is a beauty in the symmetry of Blue Monday Strip, a duality in the suggestion of the mundane in a setting of what appears to be perpetual motion. To express animation through inanimate objects is to do the unexpected, particularly in Horn’s chosen format. This is what I would like to achieve in my own art. Conclusion: A Contextual Investigation All art is contextual in that it is dependent upon its environment. What it is, as well as the time in which it is brought into existence, are both aspects that must be considered when assessing its value. Art that relates to the body is unique in the sense that although our individual bodies have a limited amount of time on this earth, the body, such as it is, is perpetual. It will always exist, though each of us as individuals has a limited time span on this earth. The work of Rebecca Horn is appealing in a timeless sense; one gets the feeling that it will be appreciated and valued even in the far distant future, in a time when machines such as ‘typewriters’ have ceased to play a role in society, other than as a symbol of the past. Her work is relevant in ways that I, as a fellow artist, find significant and familiar—and this familiarity exists despite the fact that we work in media that are altogether different from each other. Despite this difference, a common theme exists and seems to resonate when I observe her work and consider it against my own. Though we work with different materials, there is a common theme, a sense of the fleeting nature of our corporeal existence against a background of the details of life. Her works are animated, though in a much different way than my own art is ‘animated’. The sense of activity and movement I see in her work is something that is appealing and energizing. It brings to mind the limitations of the human body, yet at the same time it brings to light the concept that human activity goes on, even though we as individuals do not. Doing this within my own medium is something I can strive for, and hope on some level to achieve. As Ragheb has written, Horn’s work is ‘located in the nexus between body and machine’, and it ‘transmogrifies the ordinary into the enigmatic’ (1993). I would take these even further; Horn’s ability to find a niche between body and machine has been accomplished with dexterity and precision, yet at the same time with a subtlety that lends itself to individual interpretation. This, in essence, is the crux of her appeal to me as a practitioner. She can take everyday objects—typewriters, motors, ink, bits of metal—and juxtapose them in such unique ways that viewers look at them in ways that are new and yet familiar at the same time. References Cork, Richard. 2005. ‘Rebecca Horn invades our senses’.  Times Online, Weekend Review, Arts, May 21, 2005. Retrieved from  http://entertainment.timesonline.co.uk/article/0,,14933-1620638,00.html Ragheb, J. Fiona. ‘Rebecca Horn’. Retrieved from  http://www.guggenheimcollection.org/site/artist_bio_66.html Smith, Roberta. 1993. ‘Review/Art; Fountains of Mercury, a  Piano Spitting Out Keys: Sculpture as Dramas’. New York Times, July 2, 1993.  Retrieved electronically on 5/12/06 from  http://query.nytimes.com/gst/fullpage.html?res=9F0CE3D81E3BF931A35754C0A965958260&sec=&pagewanted=print Winterson, Jeanette. 2005. ‘The Bionic Woman’. The  Guardian. Monday, May 23, 2005. Retrieved from http://arts.guardian.co.uk/features/story/0,,1489933,00.html [i] In the Winterson interview, Horn is quoted as explaining that the onset of her illness occurred at age 20, although critic J. Fiona Rahgreb and others have written the age as 24.

Architecture

From Wisped, the free encyclopedia Magna temple M ¤rue-Guajarati Architecture (Registrant architecture) originated somewhere in sixth century in and around areas of Restaurants. Contents [hide] 1 Etymology 2 Development 3 Images 4 References 5 External links [edit]Etymology The name Mark Guajarati has its genesis in the fact that during ancient times, Restaurants and Gujarat had similarities in ethnic, cultural and political aspects of the society.Ancient name of Restaurants was Marauders while Gujarat was called Guru]rattrap. â€Å"Mark Guajarati art† literally meaner â€Å"art of Restaurants and Gujarat†. [1] [edit]Development Carved elephants on the walls of Aguish Temple that was built by Maharani Gate Sings 1st in 1651 A. D M ¤rue-Guajarati Architecture show the deep understanding of structures and refined skills of Restaurants' craftsmen of bygone era. M ¤rue-Guajarati Architecture has two prominent styles Amah-Mark and Mark-Guajarati. According to M. A.Dach a, Amah-Mark style developed primarily marquees, Spacewalks, Surcease and parts of Parallel whereas Mark- Guajarati originated in Metadata, Guarantees-Arvada, Guarantees-Ankara and some areas of Gujarat. [2] Scholars such as George Michelle, M. A. Dacha, Michael W. Mister and U. S. Import believe that M ¤rue-Guajarati Temple Architecture is entirely Western Indian architecture and is quite different from the North Indian Temple architecture. [3] There is a connecting link between M ¤rue-Guajarati Architecture and Hassle Temple Architecture.In both of these styles architecture is treated sculpturally. [4] Styles of Registrant architecture include: Charka Cathartic Have Stilwell (bail or bawd') Jihad Jail Char Bag or Charge Architecture in Restaurants represents many different types of buildings, which may broadly be classed either as secular or religious. The secular buildings are of various scales. They include towns, villages, wells, gardens, houses, and palaces. All these kind s of buildings were meant for public and civic purposes.The forts are also included in secular buildings, though they were also used for defense and military purposes. The typology of the buildings of religious nature consists of three different kinds: temples, mosques, and tombs. The typology of the buildings of secular nature is more varied. [edit]almagest Interior shows stone work Disarm temple Gain temple at Ranker Magna Temple Deep Sonata Temple Detailed Stone work, Karri Mat Temple, Bikers Restaurants Marble stone work, Jailers Gain Temple,Restaurants The Maid Banyan Palace is one of the largest royal palaces in the world. Architecture Eye Reflecting the Interior of the Theatre of Beacons Drawing Eluded, Claude- Nicolas, 1736-1806 â€Å"Between the carpenter's weight strings and marking lines [is something] close to government and enlightenment. Lie Huh, 715-766 Handmaiden if (Rhapsody on the Enfolding-vitality Hall) Ideas and Approaches in Design presents an introductory survey of the concepts and issues involved in the architectural design process. The course material presents actual projects and theoretical propositions from architectural history as exemplar responses and/or alternatives to the distinct challenges entailed in designing an architectural project. Moreover, the historic examples and ideas are presented as illustrative of the broader ideas associated with particular design movements or trends.By presenting the design process as a broad historical and intellectual endeavor; and as more than a mechanical exercise, Ideas and Approaches in Design seeks to impart the designer with a basic knowledge of a nd understanding of architectural history and theory; a basic knowledge of and understanding of architectural terminology; and basic understanding of and appreciation of the architectural design process. Department of Architecture School of Design and Environment National University of Singapore ARREAR – Module Handbook semester .Each lecture session is conducted by either one of the module tutors. All students are required to attend each session and read each session's corresponding readings. All students are required to submit a written responses the sessions' assigned readings. Tutorial The lectures are supplemented by one hour (1 hour) tutorial sessions. The tutorials are conducted under the supervision of Teaching Assistants from the Department of Architecture. The tutorials sessions are the forum to review and address any questions about the lecture session. Attendance Attendance at all lecture and tutorial sessions is compulsory to receive a full assessment.Students who arrive tardy to any lecture or tutorial session by ten (10) minutes will be considered absent. In the event a student is unable to attend a session due to illness, documentary proof of the illness is required be submitted to the Tutor upon the student's return. Absences due to reasons other than medical also require documentary proof a nd will be reviewed on a case by case basis. Students are permitted one (1) unexcused absence per term. Sketchbook – 10% Students are required to maintain a sketchbook documenting all lecture sessions particularly noting key concepts or words and their meanings.The sketchbooks are also to contain the students' ketches of exemplary buildings or objects presented during the (count. ) Oral Presentation – 10% Students are required to prepare a ten (10) minute verbal presentation corresponding to one of the twelve (12) lecture session topics. The presentation material may build upon, challenge, or provide an alternative to the subject material presented during a lecture session.No more than two (2) students may present on the topic of a given week. Reading Responses – 30% Students are required to submit reading responses to five (5) of the twelve (12) session's corresponding readings. The written responses summarize and critique the key arguments presented by the aut hor(s). The responses are to be a minimum of one (1) page in length (approximately 300-500 words). Reading responses are due exactly one (1) week after the session to which the readings correspond. Please note, no late submissions will be accepted. Final Project – 50% Students are required to complete a final project. Architecture Drafting is the drawing up of blueprints for architectural structures, and mechanical engineering tools and objects. There are two sides to drafting, the mechanical side and the architectural side. It's a great career that is fun, and easy to do. Architectural drafting has to deal with drawing up the blueprints for homes, schools, churches, and any other architectural structure you can think of. It's very easy to come up with these blueprints. You can either draw them by hand or use drafting software such as CAD. If you draw them by hand you need to know how your fractions so you can convert the drawing down in scale size.If you use the software the computer does all the work, you Just have to know which tools to use to create the drawing. Architectural drafters draw the blueprints for all the buildings you see in the community. Mechanical drafting has to deal with drawing up blueprints for engineering tools and machines. You can use software called Inventor to draw up these blueprin ts. As you draw the drawings in Inventor you can view them in AD to see how it will actually look. Mechanical drafters draw up the blueprints for the parts for vehicles, airplanes, and even space shuttles. Drafting is a great career to have once you get older.There are many places you can work as a drafter such as the Arsenal and NASA, if you go into mechanical drafting. Most architectural drafters have there own drafting companies and businesses. You don't have to go to college for a really long time to have a career in drafting. A maximum of five years and many colleges offer drafting courses. Some high schools who have a technical career center school offer drafting as a class also. If you take three years of drafting in high school you only take two years of drafting in college, or however many years you take in high school you take the difference in college to get all five years.

What to Do About Isee Lower Level Essay Samples

What to Do About Isee Lower Level Essay Samples Basically, private schools wish to find that you've strong grammar skills, that you may articulate your thoughts, and you can coherently string together sentences. Students are taught how to react to tough analogy and synonym questions without needing to know the significance of all the words in the question. Concentrate on the standard content and don't overload your text. The SSAT and ISEE scores required for admission at distinct schools vary. Get familiar with the examples of the last ISEE tasks, as you need to learn about the expectations of the graders before you get started writing. There's nothing more bedeviling than trying to explain ISEE scoring. These free on-line ISEE practice tests may also help you make a personalized study guide by illuminating the particular topics on which you might need to devote your study time. Reading sample prompts, consider practicing. The math section is a fantastic review tool. Acc ompanying each lesson is a brief quiz that reinforces important info. To start with, make sure you have read the prompt for the essay carefully. Our instructors are pleased to answer any questions your young students could have. Our program has every one of these components incorporated in addition to top notch instructors. Students will have the ability to examine the training course material on an assortment of devices, and our instructors will be pleased to answer any questions your students might have. To learn more about our programs or to register for tutoring or an approaching workshop, establish a totally free consultation with us. Facts, Fiction and Isee Lower Level Essay Samples The ISEE Lower Level practice test pack will consist of realistic practice tests and useful study guides, allowing your kid to become acquainted with the test structure. Practice utilizing the timer as you are going to have to try out the true testing conditions. All fees related to resch eduling the test is going to be waived and the ISEE Operations Office is prepared to assist you with your choices. Scores are available on the internet right after the test is graded (2-3 days following the test administration). The New Angle On Isee Lower Level Essay Samples Just Released The Los Angeles consortium of independent schools are working together to supply optimal testing for families on a broad selection of dates which are accepted in the admission practice. The standard of any training course is genuinely based on the material and the instructor involved. The drama club offers a sort of activities within one organization. While there could be some competition among stars, a production is usually a cooperative work. Facts, Fiction and Isee Lower Level Essay Samples Furthermore, you must rewrite the prompt on top of the very first page. Note that it's essential to have the prompt rewritten on the very first page, right at the very top. Once you finish, the res ults page consists of extensive explanations for every one of the answers and more info on every question's relevant concepts. This is possible no matter the test version that's taken. You're going to be surrounded by writing professionals throughout the plan of order placement, and when you choose to purchase essay and pick an allocated writer, things are likely to get even more exciting. Don't be scared to talk about your ideas as part of creative procedure and remember there's just one approach to reach the desired goals receiving papers which have been meticulously checked, reviewed and proofread. If you skip a question, be certain to determine why by reading the included explanation. As our group of writers is quite big, we always have free writers keen to bring a manageable and well-paid purchase. I hadn't ever felt this type or level of sadness before. For example, a rising ninth grader wouldn't be expected to score together with a rising twelfth grader. The scaled can take these changes into account and is equipped to allow ERB to report a score on a standard scale that has an identical meaning for all students. What Isee Lower Level Essay Samples Is - and What it Is Not Clearly, if you cannot write this up to the necessary standard, you should seek out qualified guidance. There are not any extra fees for overnight delivery! They're educated and friendly persons who will gladly assist you in any matter linked to using our expert services. Both formats consist of the exact same number of questions and the exact timing. While the ISEE essay isn't scored, you'll want your kid to have the ability to compose a well organized essay. The book is extremely simple to read and implement. There are several ISEE prep books out there to select from, it can be a bit overwhelming.

The Sequence Of Development For Each Child Should Follow A...

The sequence of development for each child should follow a similar pattern. The 5 key areas of development are: social, physical, intellectual, communication and language, and emotional. The rate that general development should take place differs from child to child, but there are 9 age ranges which certain stages of development should fall into, for a child that is developing healthily and normally. I will now detail each age range, and development sequence. 0 to 3 months: Social Development A child will cry to communicate They respond to facial gestures from others, such as smiles, and can respond positively to attention from others, unless upset or angry. They only consider others as there to satisfy their own needs. Physical Development Sleeps often and grows quickly Should begin trying to lift own head Starts to kick legs and gradually move Begins waving arms Starts to hold appropriate objects if placed in their hands Hand eye coordination develops and grasp reflex diminishes Enjoys simple finger play Become more alert when awake Learns to roll Can see at a distance of 25cm well, can begin to start watching further away objects Needs opportunity to play to develop further Intellectual Development Recognises simple patterns, concentrates on known voices Aware of different scents and smells Puts objects in mouth to explore Observes moving objects, responds to bright colour. Recalls and stores information via images Sees everything in an egocentric manner, in relation toShow MoreRelatedThe Development of Attachment Essay793 Words   |  4 PagesThe Development of Attachment Psychological research can inform us about the development of attachments to a certain extent. 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