During the reign of the Roman Empire, the “curator” designated a civil servant and public administrator, who governed public utilities such as transportation, hygiene, policing, and roads; restoring vital systems in a time when recycling prevailed over the use of blank slates. Conversely, in the Middle Ages, the mundane yet socially stabilizing activities of the curator had acquired spiritual meaning in a time of chaos and anxiety. With modern artists having the freedom to harness elements and inspirations from all walks of life, this window into the past places a diversely appointed framework for the modern day curator.
Antonin Artaud has been an icon for politically progressive experimental theatre artists in the United States and Britain since the 1960s, a messianic figure who epitomizes the creative urge toward greater freedom. Yet as Kimberly Jannarone argues in her wonderful book Artaud and His Doubles, “our interpretations of the work have been curtailed by reading it as if it had sprung from the period itself [the 1960s], ignoring its actual—and disconcerting—historical context: the interwar era in Western Europe” (2). Artaud has rarely been read historically, Jannarone argues, and she seeks to place him firmly within the political environment from which his work derives its provenance. By doing so, she uncovers an Artaud who has nothing in common with the icon of freedom and experimentation that emerged in the 1960s; instead, Jannarone discloses a deeply authoritarian man whose Theatre of Cruelty represents sadistic fantasies of power and control and bears an uncanny structural similarity to the dynamics of mass politics emerging at the time he was writing the essays included in his most famous work, The Theatre and Its Double.
Confirming the arts’ unique ability to connect beyond regions and influences, the exhibition contains American, Italian, Japanese, Cuban, and French artists, just to name a few. Works from American artist David Hammons, and Cuban artist Felix Gonzalez-Torres, who both have long histories showing with Punta della Dogana and Palazzo Grassi, share space with fresh faces such as , and . Also among the new faces at the Punta Della Dogana are , who address social policies with a dash of humor and irreverence. Here, they have installed an all-too-tempting diving board that interacts with both the gallery space and the waters of Venice.
For Descartes, this indubitable, uncontroversial point of reference aligns with "I think, therefore I am." However, after each stated foundation posited the process of critical undercutting begins; we find no extant foundation upon which to build our ontologically relevant theories....
Its impact on literature particularly finds expression in novels.
In the Second World War, in the meaningless and godless post Second World War world, it was no longer possible to keep using traditional art forms and standards that had ceased being convincing....
[tags: Portrait Painting Art Essays]
Foundationalism is rooted in classic Cartesian philosophy: ontologically, an objective reality exists independent of our perception of this reality and we can gain access to it if our theories are logically based on some indubitable foundation.
Artaud essay - SINGAPORE HEALTH & WELLNESS
I will give specific examples, such as’Tis Pity She’s A Whore’ a play by John Ford, with regards to Elizabethan Theatre in comparison with the works within Broadway, and how particular playwrights, such as Tennessee Williams and Arthur Miller, helped to ground the movement that is American theatre....