Shigeko Kubota, Vagina Painting, 1965 and Carolee Schneemann, Interior Scroll, 1975
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The painting by Shigeko Kubota that she performed over for and half decades ago was mounted various artistic principles the social values. The vagina painting revoked the established notion of masculine prowess in prosperity as well as succeeding in creative arts. The creativity notion portrayed by the painting greatly challenged the traditional assumption regarding masculine supremacy in creative world. The painting played a fundamental role in boosting feminist performance in art contrary to the previous stereotype regarding female capacity to excel in the genre. Kubota’s painting revealed not only feminism capability in creative world but also comprehensive utilization of expressive notion in painting. On the other hand the painting by Carolee Schneemann highlights both similarities and disparities from artistic perspective. The fundamental concept evident in the two paintings is the notion of feminist capability in creative world. The fact that Schneemann performance involved her genital portrays feminist ability to prosper in artistic world. In addition the two performances highly revoked the theory of minimalism. However, the disparities entitle the setting of painting in the society as well as symbolic basis of the arts knowledge. Kubota describes feminist capability from the perspective of social assumption but Schneemann portrayed the notion from unification of both spirit and flesh.
Marina Abramovic, Rhythm 0, 1974 and Yoko Ono, cut piece, 1964
The performance was mounted on audience-artist relationship to identify the behavioral patterns of audience. According to Abramovic, objects associated with both pleasure and pain in the society was available. The performance lasted for six hours and towards the end of the performance audience had become extremely aggressive. Based on the performance the artist realized that when audiences are allowed to manipulate an artistic body for considerable time frame they can cause intense pain rather than pleasure. However, audience avoided confrontation with the artist rather than portraying an aggressive nature. On evaluating Cut Piece by Yoko Ono from a similar perspective both similarities and differences arises. In the two performances the notion of personal correlation with the environment is evident. Abramovic created an interactive situation with the audience and Ono performance involved evaluating the interpersonal capacity in the society. Also, the two performances highlighted artist manipulation by audience without establishing limits their actions. However, the performances have disparities on the setting as well as social factors. Abramovic based her interaction on pain or pleasure while Ono established her interpersonal destruction on sexuality as well as desire. Also, performance was geared towards identification of gender based relationships in the society.
David Smith, Cubi1, 1963 and Donald Judd, Untitled, 1969
The image portrays the notion of modernism from the perspective of art, based on the concepts of minimalism. The Donald Judd imaged highlights artist avenues to overcome challenges in molding art materials of similar complexity. According to the artist, procedures that are deployed in portraying particular arts theories depend heavily on the pre-established correlation with the real world. From the perspective of Judd, his work established masculine correlation with prosperity as well as capacity to produce creative material revealing nature complexity based on the contemporary world. On the other hand Smith image represents one of the Cubi stainless steel sculpture transformed from his paintings. The sculpture is highly mounted on the concept of geometry prowess from an artistic perspective is clearly highlighted by the image. Also, the sculpture varies from Judd’s sculpture based on appearance as well as its upright orientation is geared towards evoking human image. The fundamental correlation with Judd’s sculpture entails the notion of overcoming changes in the arts. Smith deploys geometry prowess in establishing developing art while Judd is highly associated with minimalism.
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