Rebeha Barrasso
At the start of my senior year I was told I would be taking a college prep English Class, I thought to myself they must be joking. They want me, who's vocabulary includes, lol jk on a daily basis to take this class?
In the beginning we did a lot of writing assignments that wasn't so bad, all I needed was an imagination and spell check on my computer. I thought, that's it ? I'm on my way to an easy A! Then it happened , a reading assignment! I had to read a book! At this point I had never any thing except for an occasional Dr. Sues book to my brother and my monthly horoscope in Cosmo magazine But I had to do it, so I found a book that look interesting and began.v I quickly got caught up in the story, I just never made the time to do it. Throughout the year I was reading and dissecting various artist and literature.
Each piece I was expected to read it, read it again and understand it. To do that I was showed how to break it down, analyze it, repeat it in my own words, rethink it and eventually understand it. Its a process that as first was annoying and now at the end of this school year its a routine, a routine that I will use also in college, not I get it, that was the point. So now I can safely say I read more than just a Dr. Sues and my monthly magazine's. I am ready for what ever collage throws my way. Thanks Mr. Gallagher
Tuesday, May 25, 2010
Friday, May 21, 2010
college essay- creative- revised
Rebekah Barrasso
A Legal Adult at age 16
I've put a lot of thought into what my essay should say about me. I could have told you how I'm from a large family, and when i say large, I mean it ...there's 63 of us including aunts, uncles and cousins. Or i could tell you about my love for the holidays and my family's traditions that makes my heart warm thinking about all the memories. This essay will tell you about me as a person not just one of the Barrasso's.
At the age of sixteen I was a legal adult. Eighteen years old to be exact, well at least that's what my id said I was. I hit the club scene pretty young, but no one ever knew i should have been home playing with my friends instead of out dancing all night until 2 a.m. But my friends were older and I looked older. And then came my first opportunity to work were i loved to be. I started out as a coat room girl and that opened the door for me to be a bouncer and now I'm a bartender. This is were I learned how to prioritize my responsibilities.
Most people don't see anything good coming from growing up fast. I can tell you a different story. I started my freshman year of high school not caring about my grades and i didn't have any goals. By sophomore year i was still making good money, doing what I love best but still not too excited about getting up everyday to go to school, a place that I thought was boring. I didn't see any point in going, I was making money so why did I need to graduate?
Working in the club scene your "career life span" isn't long as you would think. Don't get me wrong, the money is great, by 16 I had a bigger bank account than some adults i knew. That's what made me hold a higher standards for what I consider an acceptable income. At the club that can only be achieved for a short time. I needed a career goal. I wanted more in life. My fiend's had to race the clock of the "career lifespan" in the club, and I have seen many fail. In the end they had no direction, goals and no idea were to go from there. I had other plans. I can still do what I love on the weekends but i needed a career. Everything fell into place my junior year. School became my top priority. I wanted to graduate. I wanted that diploma. I wanted to go to college.
If you're wondering what and how I could have possibly learned in the club scene a lot. I got to learn money skills and responsibility that I might not have realized otherwise until I was older. The lesson was put right in front of me, some might not have seen the examples that I learned from. It helped me figure out what I needed to do to get to were i wanted to be, some kids don't learn this even years after they graduate high school. I won't settle for an apple when I can get the entire orchard, Because I've always lived years beyond my age, that hasn't stopped now that I'm 18, as always I'm looking a few years ahead.
A Legal Adult at age 16
I've put a lot of thought into what my essay should say about me. I could have told you how I'm from a large family, and when i say large, I mean it ...there's 63 of us including aunts, uncles and cousins. Or i could tell you about my love for the holidays and my family's traditions that makes my heart warm thinking about all the memories. This essay will tell you about me as a person not just one of the Barrasso's.
At the age of sixteen I was a legal adult. Eighteen years old to be exact, well at least that's what my id said I was. I hit the club scene pretty young, but no one ever knew i should have been home playing with my friends instead of out dancing all night until 2 a.m. But my friends were older and I looked older. And then came my first opportunity to work were i loved to be. I started out as a coat room girl and that opened the door for me to be a bouncer and now I'm a bartender. This is were I learned how to prioritize my responsibilities.
Most people don't see anything good coming from growing up fast. I can tell you a different story. I started my freshman year of high school not caring about my grades and i didn't have any goals. By sophomore year i was still making good money, doing what I love best but still not too excited about getting up everyday to go to school, a place that I thought was boring. I didn't see any point in going, I was making money so why did I need to graduate?
Working in the club scene your "career life span" isn't long as you would think. Don't get me wrong, the money is great, by 16 I had a bigger bank account than some adults i knew. That's what made me hold a higher standards for what I consider an acceptable income. At the club that can only be achieved for a short time. I needed a career goal. I wanted more in life. My fiend's had to race the clock of the "career lifespan" in the club, and I have seen many fail. In the end they had no direction, goals and no idea were to go from there. I had other plans. I can still do what I love on the weekends but i needed a career. Everything fell into place my junior year. School became my top priority. I wanted to graduate. I wanted that diploma. I wanted to go to college.
If you're wondering what and how I could have possibly learned in the club scene a lot. I got to learn money skills and responsibility that I might not have realized otherwise until I was older. The lesson was put right in front of me, some might not have seen the examples that I learned from. It helped me figure out what I needed to do to get to were i wanted to be, some kids don't learn this even years after they graduate high school. I won't settle for an apple when I can get the entire orchard, Because I've always lived years beyond my age, that hasn't stopped now that I'm 18, as always I'm looking a few years ahead.
Research paper; Jim Dine
Rebekah Barrasso
Mr. Gallagher
English 12 CP P.6
March 30, 2010
Jim Dine a true artist
The American pop artist Jim Dines was born in 1935 in Cincinnati Ohio (“Jim Dine (1935 - )” par. 1). Dine was the eldest of two sons of Stanley Cohen, who owned a paint store, and Eunice Cohen, a homemaker. Dines inspiration and interest in art was relevant from a young age. Dine grew up intrigued by the colors and texture of paint in his father’s store. Dine himself has called his grandfather Morris Cohen one of the "real influences" on his art because he owned a hardware store, where Dine became fascinated with objects such as “tools, lawn mowers, sinks, and plumbing supplies that would play a critical role in his art”(Hendrick).
Dine studied at the University of Cincinnati and at the Boston School of Fine and Applied Arts in Boston from 1953. In 1957 he received a bachelor of fine arts degree from the Ohio University, Athens. He moved to New York City in 1959 (“Jim Dine (1935- )” par. 1). After moving to New York with his New Bride, Nancy Minto, Dine made a living teaching high school art class (“Jim Dine (b. 1935)” par. 3). From 1959 to 1960, Dine also was a pioneer of Happenings, works of art that took the form of theatrical events of demonstrations (“Jim Dine (1935- )” par. 3).
Dines early work consist primarily of images on canvas, to which three dimensional objects (eg, articles of clothing, garden tools) are attached (“Jim Dine.” 2010). Dines art is more expressionist than that of his contemparies, with an originality that allows him to stand out in the pop-art movement (“Jim Dine: Walking memory, 1959-1969”). In 1967 Dines work was included, along with Ray Litchenstein, Andy Warhol, Robert Dowd, Philip Hefferton, Joe Goode, Edward Ryscha and Wayne Thiebald, in historically important and ground breaking "New paintings of common objects" at the Norton Simon Museum. This exhibition is considered one of the first "Pop-Art" exhibitions in America (“Jim Dine”).
Since the mid-1960's Dine has painted and drawn hearts, sculpted hearts in plaster, bronze and steel, and he has even constructed hearts out of chicken wire and straw. (“Py-Lieberman. Beth. “King Of Hearts”) A Washington Post article once wrote of Jim Dine “Oh that Jim Dine..hes got heart"(“Py-Lieberman. Beth. “King of Hearts”). Along with hearts, skulls became a preferred motif of the artist: in many works, he combined the imagery of love and death, creating touching and sometimes personal works such as 'The Death at South Keningston' from 1983 which honors the death of his friend Rory McEwen” (“Jim Dine (b. 1935) par. 10).
Jim Dine has written poetry over the years, he introduced his poetry into his art work, for example exhibiting photographs of his poems at his New York Gallery.He also created a book a week, calling on his writings, paintings, photographs and more over the space of a year. The 52 books that make up the project called "Hot Dream" Dine has said in an interveiw "I had dyslexia and I had difficulty reading" "The only thing I could read was poetry because it was short. And it moved me always. Poetry was my prose" (“Antigue Muses Stir a Modern Orpheus”).
Since his first solo exhibition in 1960, Dines paintings, sculptures, photography and prints have been the subject of over 200 solo exhibitions worldwide, including over 20 solo exhibitions with the gallery since he began association with the Pace Gallery in 1976. Dine has been the recipient of multiple awards and honors, including the prestigious Commandeur dans l'ordre des Arts et des Letters, Paris (2003) (“Jim Dine: New paintings. Photographs and a sculpture open at one place wildensteinand palce McGill”). In all he has produced over 300 works. (“Jim Dine”) Expressionalism, Realism, Pop, Surrealism, Collage, painting on ceramics:he can do it all (“From Modernism backward: Jim Dine’s multiple styles”).
From 1959 to 1960, Dine also was a pioneer of Happeneings, works of art that took the form of theatrical events of demonstrations.(13) Dine immediately gained public attention as one of the originators of the "happenings" movement. Happenings, a series of shows held in art galleries, represented an effort to bridge the gap between the visual and preforming arts. (6)
The work of Dine echoes an intense commitment to life, its process, to human feeling as the measure of experience, and to art as its vehicle. In one of his "happenings," The Smiling Workman, of 1959, Dine appeared as a painter, the happy craftsman of the title, before a large surface on which he began to paint from three buckets of color with extravagant gestures, splashing and slopping the pigment on the "canvas." In an enormous outburst of enthusiasm he printed on his picture, "I like what Im doing," picked up a bucket of red paint, and, as the audience gasped, poured it over himself, and then jumped through the paper on which his "picture" was painted (Solomon par. 8).
In another happening called Vaudeville, 1960, in a set decorated with fresh vegetables, Dine did a kind of comic turn, extravagantly made up and dressed in the straw hat and striped shirt of the old vaudevillian. Dine onstage had a charismatic effect which depended on the intensity of his projection of himself and the activities he was involved in. (Solomon par. 9)
The "happenings" not only involved the audience more directly than conventional theater, but also gave to objects, which always played an important part in these events, a new importance, with the result, actually, that objects often became members of the cast, as important as the human actors (Solomon).
Dine gave up "happenings" before they began to be fashionable and widely imitated. He did so because he felt that they took him away from his central involvements as a painter (Salomon par. 11).
The earlier work of Dine tended to be more conventional in execution, simpler, with a single image. It was the concept or the image which was new and unfamiliar, and from the beginning, the choice of color and objects (Solomon par.18).
American pop artist Jim Dines “Study for this Sovereign Life” oil and sand painting is quite simple yet the viewer could interpret it in many different ways. The first time that I seen it I got the feeling of death and sadness.
In this painting, the artist, Jim Dines is said to have used oil paint and sand to create this painting, I have not seen this painting in person but I imagine the use of the two would show a lot more details that could not be noticed otherwise.
The painting includes two of Dines signature objects, a skull on the left side and a single heart on the right side. There is a tan rope dividing the two down the middle of the rectangle. The skull and heart are equally sized taking up the full area on each side, the skull is painted mostly white and very true to life, the heart on the other hand is red and cartoonish. Although the heart and skull are the same size, the heart appears to be bigger.
The background on both sides has a lot of blue although the left side with the skull has brown, red, white and black silhouetting it giving the impression of gloom. The color red is prominent on the right side of the skulls back ground, almost as if it is a reflection of the red heart on the other side of the painting. The use of these different colors also gives off an uneasy vibe and shows there is something unsettling with the image of a skull. The skull itself is a realistic image, mostly while with black shadowing in the eye sockets and around the skulls features and outlining the depth of the different areas in it. The left side of the skull seems to almost get blurry; the features on the skull are less defined than those on the right side. The left side of the jaw bone on the skull looks jagged and faded. On the side of the painting the skull is on there is a white line going down over the cheekbone of the skull continuing down to the bottom of the painting. On the top left corner of the back ground there is some black shadowing that stands out. Between the top corner of the back ground and the top left side of the skull there are white lines extending outward, the only way to describe this white area is it almost looks like a small ocean wave of white paint. The skull is represented neither scary nor morbid, it simply presents death.
On the right side of this rectangular painting is the shape of a heart, it is a deep red with two white marks on the tops showing a reflection of a white or bright light. The area around the heart is less hectic and pretty simple, it is mostly blue with a light shadow of dark grey and white that stands out mostly on the left side of the heart. It gives the impression of hope or content.
On the left side of the heart, just off the lower edge of it is a white splat, with the paint looking like it may have ran down a little. The rope down the middle is painted realistically; it’s brown and very straight and vertical. At the top of the rope it is a light brown color and it gradually darkens toward the bottom. It clearly divides the two sides boldly. It could represent the opposing sides, as death and love, or as hope and despair or even as life and death.
Dine sees objects symbolically, not in a conventional or historical sense, but in a new way witch is psychologically tuned. Familiar forms become vehicles of anxiety or of sexual feelings, for example, and he systematically explores the unconscious pressures generated by objects (Solomon par. 7).
Another one of Jim Dine’s paintings that I really like is called “The Earth”. Again Jim Dine uses one of his signature objects, hearts, to tell something. This painting is a much happier and less conflicting than his “Study for Sovereign Life”. The painting is again fairly simple yet a perfect example of pop art.
The main focus of this piece is a bold bright yellow heart in the center. The heart has some shadowing atop the curves showing depth compared to the bottom of the heart which is a solid bright yellow. This shadowing on the top of the heart is mainly focused on the left sides of the curves, its dark almost black and it transitions into a dark grey as it follows along the left side toward the bottom of the heart. The background is different hues of blue, dark blue and white deplicting a sky. In the “sky” he added black shading. Even with the dark shading the “sky” surrounding the heart is a clear bright blue sky with white added in the right spots appearing as patchy clouds. Within these “patchy clouds” are spots of black or even a dark blue randomly, it could almost appear to be debris flying around from the grass on a windy day.
At the bottom of the painting is grass like image painted green and dark green. The bottom edge of the painting where the grass is turns very dark like as if the heart could possibly be casting a shadow onto it. It gives the impression of the earth whether it is supposed to be grass or of a tree line. Just below the point of the bottom of the heart the background is mostly white, this carries up and starts to gradually fade with light blue and eventually getting into a darker blue. At the top where it is the darkest blue there is some black towards the corners and a little along the top left side of the heart where it curves in to the point at the top center of the heart.
The top of the painting is dark, almost appearing to be a night sky; small white circles seem to look like stars. On the very top of the painting where the sky is very dark there is small round white circle, a little bigger than the other ones, possibly suggesting a moon or planet.
Dines own clothes somehow continually get into his pictures, from an early tattered green corduroy suit splashed with paint, through Shoe and Hat, the various Tie and Coat paintings and An Animal (made from a bearskin coat he acquired that winter) of 1961, and the recent self-portraits in a red bathrobe, the White Suit, ect. (Solomon)
One of his recurring themes was a series of "self portraits" depicting a bathrobe shaped to his rather husky portions. He got the idea from a newspaper advertisement, a source of many pop art paintings, but Dine denied he was a pop artist. (6)
Works Cited
Abbe, Elfrieda. "An artist's approach." The Writer Aug. 2006: 6. Expanded Academic ASAP. Web. 19 Mar. 2010. http://find.galegroup.com.ezproxy.bpl.org/gtx/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T007&prodId=EAIM&docId=A147617821&source=gale&srcprod=EAIM&userGroupName=mlin_b_bpublic&version=1.0
Jim Dines Approach to Art .
“Antique muses stir a modern uepheus.” The New York Times. 19 Oct. 2008. Boston Public Library Biographal resource center.
Dines Childhood issues that has inspired him write poems.
Baskind, Samantha. “Dine Jim.” Encyclopedia Judiaca. Ed. Micael Berendaum and Fred Skoinik. 2nd ed. Vol.5. Detroit:Mcmillan reference USA , 2007. 669-670. Gale virtual reference Library. Web. 21 Mar. 2010. http://go.galegroup.comezproxy.bpl.org/ps/i.do?&id=GALE%7ccx2587505230&v=2.1&u=&it=r&p=gvrl&sw=w
Dines experiences and designing’s .
Berona, David A. "Carpenter, Elizabeth. Jim Dine Prints: a Catalogue Raisonne, 1985-2000." Library Journal 127.17 (2002): 68. Expanded Academic ASAP. Web. 19 Mar. 2010. http://find.galegroup.com.ezproxy.bpl.org/gtx/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T007&prodId=EAIM&docId=A93349143&source=gale&srcprod=EAIM&userGroupName=mlin_b_bpublic&version=1.0
What inspires Dines art approach.
Hendrik, Robert.” Dine, James(jim).” Scriber Encyclopedia of American Lives, Thematic series . The 1960’s. ED. William L O’Neill and Kenneth T. Jackson. Vol. 7. New York: Charles S. Cribhers sons. 2003. 205-252. Gale Virtual Reference Library. Web. 21 Mar. 2010. http://go.galegroup.com.ezproxy.bpl.org/ps/ido?&id=Gale%7ccx3436600152&v=2.1&6=&it=r&p=GVRL&sw=w
Jim Dines childhood inspirations for art.
“Jim Dine: Walking Memmory, 1999.” Artforum International 1999 April. Boston Public Library Biographal resource center.
Dine’s work standing out in the pop art word
“Jim Dine (1935-).” E-FineArt.Com. http://www.e-fineart.com/biograph/dine.html.
The signature of his art.
“Jim Dine.” Art Promote Art & Culture Online. 1998. http://www.artpromote.com/jim-dine.shtml.
Dine produced over 3000 works of art.
Works Consulted
“Jim Dine(1935-).” Guy Peters Gallery. http://www.jimdine.be/pages/biography.php.
Dines “happenings”
“Jim Dine(b.1935.” Hollis Taggart Galleries. 2008. http://www.Hollistaggart.com/artist/brography/jim_dine/.
Honoring his friends death in his art.
“Jim Dine: New paintings, photographs, and a sculpture opens at one place Wildenstien and place MacGill.” Newswire 4 Mar. 2004. Boston Public Library Biographal resource center.
Dines use of hearts and skulls in his art.
“Jim Dine.” 0210. The History Channel website. Mar. 16 2010, 9:23. http://www.histiory.com/topics/jim-dine.
Dine’s 3 dimensional art.
“From modernism backward; Jim Dine’s multiple styles. New York times. 9 April 2004. Boston Public Library Biographal resource center.
Dine “name paintimg”
“Jim Dine.” Wikipedia. 16 Mar. 2010. http://en.wikipedia.org/wiki/Jim_Dine.
The first pop art exihibits
“Py-Lieberman. Beth. “King of Hearts” Smithsonian Feb.2006:34.
Dines Heart art.
Mr. Gallagher
English 12 CP P.6
March 30, 2010
Jim Dine a true artist
The American pop artist Jim Dines was born in 1935 in Cincinnati Ohio (“Jim Dine (1935 - )” par. 1). Dine was the eldest of two sons of Stanley Cohen, who owned a paint store, and Eunice Cohen, a homemaker. Dines inspiration and interest in art was relevant from a young age. Dine grew up intrigued by the colors and texture of paint in his father’s store. Dine himself has called his grandfather Morris Cohen one of the "real influences" on his art because he owned a hardware store, where Dine became fascinated with objects such as “tools, lawn mowers, sinks, and plumbing supplies that would play a critical role in his art”(Hendrick).
Dine studied at the University of Cincinnati and at the Boston School of Fine and Applied Arts in Boston from 1953. In 1957 he received a bachelor of fine arts degree from the Ohio University, Athens. He moved to New York City in 1959 (“Jim Dine (1935- )” par. 1). After moving to New York with his New Bride, Nancy Minto, Dine made a living teaching high school art class (“Jim Dine (b. 1935)” par. 3). From 1959 to 1960, Dine also was a pioneer of Happenings, works of art that took the form of theatrical events of demonstrations (“Jim Dine (1935- )” par. 3).
Dines early work consist primarily of images on canvas, to which three dimensional objects (eg, articles of clothing, garden tools) are attached (“Jim Dine.” 2010). Dines art is more expressionist than that of his contemparies, with an originality that allows him to stand out in the pop-art movement (“Jim Dine: Walking memory, 1959-1969”). In 1967 Dines work was included, along with Ray Litchenstein, Andy Warhol, Robert Dowd, Philip Hefferton, Joe Goode, Edward Ryscha and Wayne Thiebald, in historically important and ground breaking "New paintings of common objects" at the Norton Simon Museum. This exhibition is considered one of the first "Pop-Art" exhibitions in America (“Jim Dine”).
Since the mid-1960's Dine has painted and drawn hearts, sculpted hearts in plaster, bronze and steel, and he has even constructed hearts out of chicken wire and straw. (“Py-Lieberman. Beth. “King Of Hearts”) A Washington Post article once wrote of Jim Dine “Oh that Jim Dine..hes got heart"(“Py-Lieberman. Beth. “King of Hearts”). Along with hearts, skulls became a preferred motif of the artist: in many works, he combined the imagery of love and death, creating touching and sometimes personal works such as 'The Death at South Keningston' from 1983 which honors the death of his friend Rory McEwen” (“Jim Dine (b. 1935) par. 10).
Jim Dine has written poetry over the years, he introduced his poetry into his art work, for example exhibiting photographs of his poems at his New York Gallery.He also created a book a week, calling on his writings, paintings, photographs and more over the space of a year. The 52 books that make up the project called "Hot Dream" Dine has said in an interveiw "I had dyslexia and I had difficulty reading" "The only thing I could read was poetry because it was short. And it moved me always. Poetry was my prose" (“Antigue Muses Stir a Modern Orpheus”).
Since his first solo exhibition in 1960, Dines paintings, sculptures, photography and prints have been the subject of over 200 solo exhibitions worldwide, including over 20 solo exhibitions with the gallery since he began association with the Pace Gallery in 1976. Dine has been the recipient of multiple awards and honors, including the prestigious Commandeur dans l'ordre des Arts et des Letters, Paris (2003) (“Jim Dine: New paintings. Photographs and a sculpture open at one place wildensteinand palce McGill”). In all he has produced over 300 works. (“Jim Dine”) Expressionalism, Realism, Pop, Surrealism, Collage, painting on ceramics:he can do it all (“From Modernism backward: Jim Dine’s multiple styles”).
From 1959 to 1960, Dine also was a pioneer of Happeneings, works of art that took the form of theatrical events of demonstrations.(13) Dine immediately gained public attention as one of the originators of the "happenings" movement. Happenings, a series of shows held in art galleries, represented an effort to bridge the gap between the visual and preforming arts. (6)
The work of Dine echoes an intense commitment to life, its process, to human feeling as the measure of experience, and to art as its vehicle. In one of his "happenings," The Smiling Workman, of 1959, Dine appeared as a painter, the happy craftsman of the title, before a large surface on which he began to paint from three buckets of color with extravagant gestures, splashing and slopping the pigment on the "canvas." In an enormous outburst of enthusiasm he printed on his picture, "I like what Im doing," picked up a bucket of red paint, and, as the audience gasped, poured it over himself, and then jumped through the paper on which his "picture" was painted (Solomon par. 8).
In another happening called Vaudeville, 1960, in a set decorated with fresh vegetables, Dine did a kind of comic turn, extravagantly made up and dressed in the straw hat and striped shirt of the old vaudevillian. Dine onstage had a charismatic effect which depended on the intensity of his projection of himself and the activities he was involved in. (Solomon par. 9)
The "happenings" not only involved the audience more directly than conventional theater, but also gave to objects, which always played an important part in these events, a new importance, with the result, actually, that objects often became members of the cast, as important as the human actors (Solomon).
Dine gave up "happenings" before they began to be fashionable and widely imitated. He did so because he felt that they took him away from his central involvements as a painter (Salomon par. 11).
The earlier work of Dine tended to be more conventional in execution, simpler, with a single image. It was the concept or the image which was new and unfamiliar, and from the beginning, the choice of color and objects (Solomon par.18).
American pop artist Jim Dines “Study for this Sovereign Life” oil and sand painting is quite simple yet the viewer could interpret it in many different ways. The first time that I seen it I got the feeling of death and sadness.
In this painting, the artist, Jim Dines is said to have used oil paint and sand to create this painting, I have not seen this painting in person but I imagine the use of the two would show a lot more details that could not be noticed otherwise.
The painting includes two of Dines signature objects, a skull on the left side and a single heart on the right side. There is a tan rope dividing the two down the middle of the rectangle. The skull and heart are equally sized taking up the full area on each side, the skull is painted mostly white and very true to life, the heart on the other hand is red and cartoonish. Although the heart and skull are the same size, the heart appears to be bigger.
The background on both sides has a lot of blue although the left side with the skull has brown, red, white and black silhouetting it giving the impression of gloom. The color red is prominent on the right side of the skulls back ground, almost as if it is a reflection of the red heart on the other side of the painting. The use of these different colors also gives off an uneasy vibe and shows there is something unsettling with the image of a skull. The skull itself is a realistic image, mostly while with black shadowing in the eye sockets and around the skulls features and outlining the depth of the different areas in it. The left side of the skull seems to almost get blurry; the features on the skull are less defined than those on the right side. The left side of the jaw bone on the skull looks jagged and faded. On the side of the painting the skull is on there is a white line going down over the cheekbone of the skull continuing down to the bottom of the painting. On the top left corner of the back ground there is some black shadowing that stands out. Between the top corner of the back ground and the top left side of the skull there are white lines extending outward, the only way to describe this white area is it almost looks like a small ocean wave of white paint. The skull is represented neither scary nor morbid, it simply presents death.
On the right side of this rectangular painting is the shape of a heart, it is a deep red with two white marks on the tops showing a reflection of a white or bright light. The area around the heart is less hectic and pretty simple, it is mostly blue with a light shadow of dark grey and white that stands out mostly on the left side of the heart. It gives the impression of hope or content.
On the left side of the heart, just off the lower edge of it is a white splat, with the paint looking like it may have ran down a little. The rope down the middle is painted realistically; it’s brown and very straight and vertical. At the top of the rope it is a light brown color and it gradually darkens toward the bottom. It clearly divides the two sides boldly. It could represent the opposing sides, as death and love, or as hope and despair or even as life and death.
Dine sees objects symbolically, not in a conventional or historical sense, but in a new way witch is psychologically tuned. Familiar forms become vehicles of anxiety or of sexual feelings, for example, and he systematically explores the unconscious pressures generated by objects (Solomon par. 7).
Another one of Jim Dine’s paintings that I really like is called “The Earth”. Again Jim Dine uses one of his signature objects, hearts, to tell something. This painting is a much happier and less conflicting than his “Study for Sovereign Life”. The painting is again fairly simple yet a perfect example of pop art.
The main focus of this piece is a bold bright yellow heart in the center. The heart has some shadowing atop the curves showing depth compared to the bottom of the heart which is a solid bright yellow. This shadowing on the top of the heart is mainly focused on the left sides of the curves, its dark almost black and it transitions into a dark grey as it follows along the left side toward the bottom of the heart. The background is different hues of blue, dark blue and white deplicting a sky. In the “sky” he added black shading. Even with the dark shading the “sky” surrounding the heart is a clear bright blue sky with white added in the right spots appearing as patchy clouds. Within these “patchy clouds” are spots of black or even a dark blue randomly, it could almost appear to be debris flying around from the grass on a windy day.
At the bottom of the painting is grass like image painted green and dark green. The bottom edge of the painting where the grass is turns very dark like as if the heart could possibly be casting a shadow onto it. It gives the impression of the earth whether it is supposed to be grass or of a tree line. Just below the point of the bottom of the heart the background is mostly white, this carries up and starts to gradually fade with light blue and eventually getting into a darker blue. At the top where it is the darkest blue there is some black towards the corners and a little along the top left side of the heart where it curves in to the point at the top center of the heart.
The top of the painting is dark, almost appearing to be a night sky; small white circles seem to look like stars. On the very top of the painting where the sky is very dark there is small round white circle, a little bigger than the other ones, possibly suggesting a moon or planet.
Dines own clothes somehow continually get into his pictures, from an early tattered green corduroy suit splashed with paint, through Shoe and Hat, the various Tie and Coat paintings and An Animal (made from a bearskin coat he acquired that winter) of 1961, and the recent self-portraits in a red bathrobe, the White Suit, ect. (Solomon)
One of his recurring themes was a series of "self portraits" depicting a bathrobe shaped to his rather husky portions. He got the idea from a newspaper advertisement, a source of many pop art paintings, but Dine denied he was a pop artist. (6)
Works Cited
Abbe, Elfrieda. "An artist's approach." The Writer Aug. 2006: 6. Expanded Academic ASAP. Web. 19 Mar. 2010. http://find.galegroup.com.ezproxy.bpl.org/gtx/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T007&prodId=EAIM&docId=A147617821&source=gale&srcprod=EAIM&userGroupName=mlin_b_bpublic&version=1.0
Jim Dines Approach to Art .
“Antique muses stir a modern uepheus.” The New York Times. 19 Oct. 2008. Boston Public Library Biographal resource center.
Dines Childhood issues that has inspired him write poems.
Baskind, Samantha. “Dine Jim.” Encyclopedia Judiaca. Ed. Micael Berendaum and Fred Skoinik. 2nd ed. Vol.5. Detroit:Mcmillan reference USA , 2007. 669-670. Gale virtual reference Library. Web. 21 Mar. 2010. http://go.galegroup.comezproxy.bpl.org/ps/i.do?&id=GALE%7ccx2587505230&v=2.1&u=&it=r&p=gvrl&sw=w
Dines experiences and designing’s .
Berona, David A. "Carpenter, Elizabeth. Jim Dine Prints: a Catalogue Raisonne, 1985-2000." Library Journal 127.17 (2002): 68. Expanded Academic ASAP. Web. 19 Mar. 2010. http://find.galegroup.com.ezproxy.bpl.org/gtx/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T007&prodId=EAIM&docId=A93349143&source=gale&srcprod=EAIM&userGroupName=mlin_b_bpublic&version=1.0
What inspires Dines art approach.
Hendrik, Robert.” Dine, James(jim).” Scriber Encyclopedia of American Lives, Thematic series . The 1960’s. ED. William L O’Neill and Kenneth T. Jackson. Vol. 7. New York: Charles S. Cribhers sons. 2003. 205-252. Gale Virtual Reference Library. Web. 21 Mar. 2010. http://go.galegroup.com.ezproxy.bpl.org/ps/ido?&id=Gale%7ccx3436600152&v=2.1&6=&it=r&p=GVRL&sw=w
Jim Dines childhood inspirations for art.
“Jim Dine: Walking Memmory, 1999.” Artforum International 1999 April. Boston Public Library Biographal resource center.
Dine’s work standing out in the pop art word
“Jim Dine (1935-).” E-FineArt.Com. http://www.e-fineart.com/biograph/dine.html.
The signature of his art.
“Jim Dine.” Art Promote Art & Culture Online. 1998. http://www.artpromote.com/jim-dine.shtml.
Dine produced over 3000 works of art.
Works Consulted
“Jim Dine(1935-).” Guy Peters Gallery. http://www.jimdine.be/pages/biography.php.
Dines “happenings”
“Jim Dine(b.1935.” Hollis Taggart Galleries. 2008. http://www.Hollistaggart.com/artist/brography/jim_dine/.
Honoring his friends death in his art.
“Jim Dine: New paintings, photographs, and a sculpture opens at one place Wildenstien and place MacGill.” Newswire 4 Mar. 2004. Boston Public Library Biographal resource center.
Dines use of hearts and skulls in his art.
“Jim Dine.” 0210. The History Channel website. Mar. 16 2010, 9:23. http://www.histiory.com/topics/jim-dine.
Dine’s 3 dimensional art.
“From modernism backward; Jim Dine’s multiple styles. New York times. 9 April 2004. Boston Public Library Biographal resource center.
Dine “name paintimg”
“Jim Dine.” Wikipedia. 16 Mar. 2010. http://en.wikipedia.org/wiki/Jim_Dine.
The first pop art exihibits
“Py-Lieberman. Beth. “King of Hearts” Smithsonian Feb.2006:34.
Dines Heart art.
Hamlets view of females- Analysis
Rebekah Barrasso
Mr.Gallagher
English 12 CP P6
2 December 2009
Hamlets Feminist view
In Hamlet Act one by William Shakespeare I think that Hamlet has a lot of hate and animosity towards women, mainly his mother. I feel that Hamlet's feelings towards his mother are justified but to generalize all women with that same feeling is unfair and shows his ignorance. Not all women are as he feels and thinks of them. His mother’s actions are not that of every woman. Hamlet also seems to be resenting his mother as a way to put blame on someone else for the hurt he is feeling about losing his father. I feel that Hamlet needs to redirect his feelings to just his mother. That is like if I judged all men as being ignorant because of Hamlets ignorance that is an unfair stereotype.
When first meeting Hamlet in act one he is angry and upset at Queen Gertrude, his mother, for remarrying his uncle so soon after the death of his father. Hamlet feels betrayed by the actions of his mother; he begins to associate this betrayal with the actions of all women in his first soliloquy he comments on the speed of her remarriage. Lines 15-19 (pg 31) Within a month, Ere yet the salt of most unrighteous tears Had left the flushing in her galled eyes, She married. O, most wicked speed, to post With such dexterity to incestuous sheets! It is not, nor it cannot come to good. Hamlet's view of his mother gets worse as the play goes on. This is because his father who comes back as a ghost, tells him about his mother's adulterous behavior and his uncles planned murder. Although Hamlet wants to seek revenge on Claudius for the murder of his farther, he is more bothered by King Hamlet’s revelations regarding his mother. King Hamlet tells Hamlet not to be concerned with his mother Lines92/93 ( Pg 61) .."nor let thy soul cintrive against thy mother aught" but after his dads ghost leaves, it is the first thing Hamlet speaks of. Before vowing to avenge his father's death, he comments on the sins his mother committed.
After going through family issues, Hamlet is not so fond of women at this point. He generalizes this to and about all women not just towards his mother. Hamlet's widowed mother married his uncle, her husband’s brother. He has two huge things bothering him and he lets it affect all aspects of his life. His mother just remarried his uncle and is letting him fill in the old Kings spot. He hates the way his mother is handling his father’s death. She left no time to grieve the death of her husband. Hamlets view is finalized on women after seeing how his mother just moved on to his uncle after two months of his father passing. Hamlet doesn't just get upset with his mother he is also upset with himself Line 49 (Pg 59)"O, my pathetic soul..." Act one sc.3 lines 142-144 (Pg 29) “But two months dead-nay, not so much two. So excellent a king, that he was to this Hyperion to a satyr”. I chose these lines because it expresses his feelings towards his mother’s marriage to his uncle. He refers to it only being two months since his father’s death and his mother has already moved on when she should be in mourning as he is.
Hamlet is going through a hard time and is very emotional. His father was murdered by his own brother Cladus, witch is now with Hamlets mom! He had found this out when talking to his father’s ghost. Act one sc. 5 Lines 42-50 (Pg 59) “ Tis given out that, sleeping in my orchard, A serpent stung me…” Hamlet: O, my prophetic soul! My uncle! Ghost: Ay, that incestuous, that adulterate beast,..” Hamlet does not like nor is happy after seeing how his uncle talks to him and how his mother acts like nothing ever changed. When Hamlet was by himself he explains that he wishes he could die, that he could evaporate and cease to exist. He wishes bitterly that God had not made suicide a sin Act 1 sc. 2 lines 133 " O that this too, too sullied flesh would melt, Thaw, And resolve itself into a dew ...". He feels as if his mother is dishonoring his father, she was with a nice guy and went down to someone not so good. Act one sc.3 lines 142-144 (Pg 29) “…So excellent a king, that he was to this Hyperion to a satyr.
Mr.Gallagher
English 12 CP P6
2 December 2009
Hamlets Feminist view
In Hamlet Act one by William Shakespeare I think that Hamlet has a lot of hate and animosity towards women, mainly his mother. I feel that Hamlet's feelings towards his mother are justified but to generalize all women with that same feeling is unfair and shows his ignorance. Not all women are as he feels and thinks of them. His mother’s actions are not that of every woman. Hamlet also seems to be resenting his mother as a way to put blame on someone else for the hurt he is feeling about losing his father. I feel that Hamlet needs to redirect his feelings to just his mother. That is like if I judged all men as being ignorant because of Hamlets ignorance that is an unfair stereotype.
When first meeting Hamlet in act one he is angry and upset at Queen Gertrude, his mother, for remarrying his uncle so soon after the death of his father. Hamlet feels betrayed by the actions of his mother; he begins to associate this betrayal with the actions of all women in his first soliloquy he comments on the speed of her remarriage. Lines 15-19 (pg 31) Within a month, Ere yet the salt of most unrighteous tears Had left the flushing in her galled eyes, She married. O, most wicked speed, to post With such dexterity to incestuous sheets! It is not, nor it cannot come to good. Hamlet's view of his mother gets worse as the play goes on. This is because his father who comes back as a ghost, tells him about his mother's adulterous behavior and his uncles planned murder. Although Hamlet wants to seek revenge on Claudius for the murder of his farther, he is more bothered by King Hamlet’s revelations regarding his mother. King Hamlet tells Hamlet not to be concerned with his mother Lines92/93 ( Pg 61) .."nor let thy soul cintrive against thy mother aught" but after his dads ghost leaves, it is the first thing Hamlet speaks of. Before vowing to avenge his father's death, he comments on the sins his mother committed.
After going through family issues, Hamlet is not so fond of women at this point. He generalizes this to and about all women not just towards his mother. Hamlet's widowed mother married his uncle, her husband’s brother. He has two huge things bothering him and he lets it affect all aspects of his life. His mother just remarried his uncle and is letting him fill in the old Kings spot. He hates the way his mother is handling his father’s death. She left no time to grieve the death of her husband. Hamlets view is finalized on women after seeing how his mother just moved on to his uncle after two months of his father passing. Hamlet doesn't just get upset with his mother he is also upset with himself Line 49 (Pg 59)"O, my pathetic soul..." Act one sc.3 lines 142-144 (Pg 29) “But two months dead-nay, not so much two. So excellent a king, that he was to this Hyperion to a satyr”. I chose these lines because it expresses his feelings towards his mother’s marriage to his uncle. He refers to it only being two months since his father’s death and his mother has already moved on when she should be in mourning as he is.
Hamlet is going through a hard time and is very emotional. His father was murdered by his own brother Cladus, witch is now with Hamlets mom! He had found this out when talking to his father’s ghost. Act one sc. 5 Lines 42-50 (Pg 59) “ Tis given out that, sleeping in my orchard, A serpent stung me…” Hamlet: O, my prophetic soul! My uncle! Ghost: Ay, that incestuous, that adulterate beast,..” Hamlet does not like nor is happy after seeing how his uncle talks to him and how his mother acts like nothing ever changed. When Hamlet was by himself he explains that he wishes he could die, that he could evaporate and cease to exist. He wishes bitterly that God had not made suicide a sin Act 1 sc. 2 lines 133 " O that this too, too sullied flesh would melt, Thaw, And resolve itself into a dew ...". He feels as if his mother is dishonoring his father, she was with a nice guy and went down to someone not so good. Act one sc.3 lines 142-144 (Pg 29) “…So excellent a king, that he was to this Hyperion to a satyr.
Thursday, May 20, 2010
A dolls house - Note Book Entry
Rebekah Barrasso 2-23-09
The opening scene of Isben's A Doll's House is the better interpretation of Nora. The Director, Patrick Garland has the scenery and house appear bright, festive and wealthy. The music playing as she enters the house is festive but also seems suspenseful. In this clip Nora played by Claire Bloom, comes across as sneaky. For example, as she enters the house she immediately went to Torvald’s door and put her ear to it to listen and then as she walks away she puts a macaroon cookie in her mouth and hides the package in the piano. The actress portrayed Nora as sneaky by the look she has on her face as she listens at Torvalds door. It was a look of being sneaky not curiosity.
This clip also portrays Nora to be thoughtless and greedy about money. As Nora and Torvald sit and discuss the holidays, Nora states that they should borrow money now for the Holidays because she feels that after the New Year "he will be making an enormous salary” his new job at the bank. Torvald explains to her that if they were to borrow money now and on New Years Eve a tile from the roof was to fall on his head and kill him how would the person they borrowed from ever to get paid back? Nora quickly says “who cares about them, they’re strangers". Just as Torvald says at one point in the scene Nora is "thoughtless".
Another scene in this clip shows Nora being sneaky is when her and Torvald were near the Christmas tree putting the gifts under it. The director gives the impression of this being a festive moment with Christmas music playing in the background while Torvald asks Nora what she would like for Christmas. At first Nora says "nothing, I don’t want anything really" but almost rehearsed she quickly says "If you really wanted to give me something, you could give me money Torvald". The actress, Claire Bloom portrays this moment as being greedy by answering Torvald first with an innocent kind look and then her face lights up with excitement and quickly changes her answer asking for money as her gift.
While Reading the novel I get the impression of Nora being a tad bit immature. While watching the movie clip of act one the actor Julie Harris plays a very well imitation of Nora’s character. While Julie Harris acts as Nora in the scene she makes these little gestures that come across as the childlike Nora that I seen in both the book and movie scene. For example in the clip of act one as Torvald shows her money and she wiggles her nose and make a little meow nose. As she shows her the 20 dollars she jumps up and down and over to him. When we beings to pull more money out she again make the little meow gesture and she gets 40 dollars out of him. She plays as if she was his daughter not a wife.
While reading more in to the book and breaking down the conversations I seen something that is interesting. When going over the book and watching the clip of act one I feel that Nora needs Torvald. They have a curious relationship. I see that Nora basically needs Torvald. Being a woman in the late 1800s in Norway woman can not do much with out a man. Woman can not get a loan with out a Father or husband signature. They can not work unless they are widowed. Looking closely at the way they act with one another and the thing they say to one another you can see Torvald controls her.
At the end of this scene Torvald asks Nora if she "visited the confectioners while in town". Nora again comes across as sneaky as she tries to lie to Torvald, denying it and swearing that she "would never dream of doing anything you didnt approve of". The actress playing Nora keeps a serious and again, innocent look on her face as she says this lie showing that Nora is sneaky and decieptful. She seems to be more concerned with not disappointing Torvald that she did sneak and eat macaroon cookies, than she is about disappointing him with her carelessness and greed with money.
The opening scene of Isben's A Doll's House is the better interpretation of Nora. The Director, Patrick Garland has the scenery and house appear bright, festive and wealthy. The music playing as she enters the house is festive but also seems suspenseful. In this clip Nora played by Claire Bloom, comes across as sneaky. For example, as she enters the house she immediately went to Torvald’s door and put her ear to it to listen and then as she walks away she puts a macaroon cookie in her mouth and hides the package in the piano. The actress portrayed Nora as sneaky by the look she has on her face as she listens at Torvalds door. It was a look of being sneaky not curiosity.
This clip also portrays Nora to be thoughtless and greedy about money. As Nora and Torvald sit and discuss the holidays, Nora states that they should borrow money now for the Holidays because she feels that after the New Year "he will be making an enormous salary” his new job at the bank. Torvald explains to her that if they were to borrow money now and on New Years Eve a tile from the roof was to fall on his head and kill him how would the person they borrowed from ever to get paid back? Nora quickly says “who cares about them, they’re strangers". Just as Torvald says at one point in the scene Nora is "thoughtless".
Another scene in this clip shows Nora being sneaky is when her and Torvald were near the Christmas tree putting the gifts under it. The director gives the impression of this being a festive moment with Christmas music playing in the background while Torvald asks Nora what she would like for Christmas. At first Nora says "nothing, I don’t want anything really" but almost rehearsed she quickly says "If you really wanted to give me something, you could give me money Torvald". The actress, Claire Bloom portrays this moment as being greedy by answering Torvald first with an innocent kind look and then her face lights up with excitement and quickly changes her answer asking for money as her gift.
While Reading the novel I get the impression of Nora being a tad bit immature. While watching the movie clip of act one the actor Julie Harris plays a very well imitation of Nora’s character. While Julie Harris acts as Nora in the scene she makes these little gestures that come across as the childlike Nora that I seen in both the book and movie scene. For example in the clip of act one as Torvald shows her money and she wiggles her nose and make a little meow nose. As she shows her the 20 dollars she jumps up and down and over to him. When we beings to pull more money out she again make the little meow gesture and she gets 40 dollars out of him. She plays as if she was his daughter not a wife.
While reading more in to the book and breaking down the conversations I seen something that is interesting. When going over the book and watching the clip of act one I feel that Nora needs Torvald. They have a curious relationship. I see that Nora basically needs Torvald. Being a woman in the late 1800s in Norway woman can not do much with out a man. Woman can not get a loan with out a Father or husband signature. They can not work unless they are widowed. Looking closely at the way they act with one another and the thing they say to one another you can see Torvald controls her.
At the end of this scene Torvald asks Nora if she "visited the confectioners while in town". Nora again comes across as sneaky as she tries to lie to Torvald, denying it and swearing that she "would never dream of doing anything you didnt approve of". The actress playing Nora keeps a serious and again, innocent look on her face as she says this lie showing that Nora is sneaky and decieptful. She seems to be more concerned with not disappointing Torvald that she did sneak and eat macaroon cookies, than she is about disappointing him with her carelessness and greed with money.
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