Essay: Art History and Contemporary

Pages: 3 (1094 words)  ·  Bibliography Sources: 1+  ·  Level: College Junior  ·  Topic: Art  (general)  ·  Buy This Paper

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[. . .] Perhaps this is the genesis of the very nature for humans that we need to continuously explore and explain the unknown. And, different cultures in time and location find different approaches and solutions to this -- but in similar ways that lead us to believe that there is perhaps more to this myth and realization of myth through art than simple repetitions of archetypal themes. In a sense, then, it is necessary for us to continually recraft the past so that we may acculturate towards the future. Art then, in its many forms, serves as the catalyst for this journey.

We can certainly understand this if we look at the global oral tradition that turns into folk art as an expression of culture -- with many of those folk themes speaking to similar issues between people as they do today; certainly pointing out the universality of art and being.

The late 20th and early 21st centuries then brought us moving from dismantling the history of art as globalism progressed to defending the reasons for art in the first place.

The arts are an important part of our culture, a vital part of our society, and a vehicle for communication that expresses more than words or language -- and are timeless. As the process of globalization brings us closer as humans -- so does the realization that it is art that helps us retain and regain our humanity. As technology advanced, though, we remain tied to the past through the cultural aspects of the common themes that are present in almost every society -- the certain unconscious forces that originate both at the individual and cultural level as a way to learn how we adapted and must continue to adapt.

REFERENCES

Bittarello, M.B. (2008). "Re-Crafting the Past: The Complex Relationship

Between Myth and Ritual." Pomegranate: The International Journal of Pagan Studies. 10(2): 214.

Croucher, Globalization and Belonging: The Politics of Identity in a Changing World. New York: Roman and Littlefield, 2004.

Fraser, A. "From the Critique of Institutions to an Institution of Critique." Artforum. 44 (1): September, 2005, Retrieved from: http://occupymuseums.org/press/Andrea-Fraser_From-the-Critique-of-Institutions-to-an-Institution-of-Critique.pdf

Hauser. B. "From Oral Tradition to 'Folk Art' -- Reevaluating Bengali Scroll Paintings. Asian Folklore Studies. 61 (1): 105-22, 2002.

Kwon, M. "Itinerant Artists," in One Place After Another. Cambridge, MA: MIT Press, 2002.

Smith, C. International Trade and Globalization. New York: Stokesfield Press, 2007.

Tolstoy, L. (n.d.) "What is Art?" Retrieved from: http://www.csulb.edu/~jvancamp/361r14.html

C. Smith, International Trade and Globalization. (New York: Stokesfield Press, 2007).

S. Croucher, Globalization and Belonging: The Politics of Identity in a Changing World. (New York: Roman and Littlefield, 2004).

Leo Tolstoy. "What is Art?" Retrieved from: http://www.csulb.edu/~jvancamp/361r14.html

Miwon Kwon. "Itinerant Artists," in One Place After Another. (Cambrdige, MA: MIT Press, 2002), p. 49.

M.B. Bittarello, "Re-Crafting the Past: The Complex "Re-Crafting the Past: The Complex Relationship

Between Myth and Ritual." Pomegranate: The International Journal of Pagan Studies. 10(2): 214.

See Beatrix Hauser. "From Oral Tradition to 'Folk Art' -- Reevaluating Bengali Scroll Paintings. Asian Folklore Studies. 61 (1): 105-22, 2002.

Andrea Fraser. "From the Critique of Institutions to an Institution of Critique." Artforum. 44 (1): September, 2005, Retrieved from: http://occupymuseums.org/press/Andrea-Fraser_From-the-Critique-of-Institutions-to-an-Institution-of-Critique.pdf [END OF PREVIEW]

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