Pablo Picasso and Cubic Art Essay -- Visual Arts

Hindu believes women are creator, caretaker, destroyer and a lover. Such beliefs are common in both eastern culture and western tradition that can be seen represented in different canvases of many famous artists. From renaissance Michelangelo Angelo to abstract Pablo Picasso, artists have always painted women in different circles of life explaining different paradox of emotional feelings, spiritual beliefs, and physical representations. Explaining such themes in balanced form and in limited canvases was not possible without abstract thinking and imaginative hard work. Such trend in art can be seen in artwork of different famous artists, which they created as per their thoughts and desire broadening meaning of visual arts pouring the spices of science and technology. Keeping in harmony with colors was an important task to explain women's behavior as wells as making artwork acceptable to every body. Crossing the social boundaries and limitations would only bring void and controversy in the created artwork, which can happen by wrong use of color or wrong presentation of women's image. But for the artists like Pablo Picasso explaining the things without any boundaries and social limitations was the important thing first. Since the artwork he created have crossing boundaries both culturally and artistically, a viewer can have broader perspectives and critical analysis of life, death, and desire or the morality as well as science and technology or fiction. Picasso explains all these things in one artwork called "Girl Before the Mirror", Oil on canvas, 5'4" X 4'3." "Girl Before the Mirror" is created in 1932 and it is said that the girl in the painting is his at the time girl friend Marie Therese Walter. No matter who is drawn in... ... in different parts of the painting "Girl Before a Mirror", and in the same manner "Shiva as Half Man and Half Woman" also covers the same range and perspective of beliefs and diversities. Therefore, both artworks radiates the same theme generated by the simplicity of the ideas nourished by abstract thinking connecting the human beliefs to the imaginative world of desire and emotions though they are philosophically and ideologically different by the use of different colors for different themes. It also shows the similarities in humane thinking between two cultures that are religiously and culturally different and so apart. (Heller) Work Cited Cassidy, David C. Einstein And Our World. 2nd ed. New York: Humanity Books, 2004 Freeman, Julian. Art: A Crash Course. New York: Watson-Guptill, 1998 Heller, Nancy G. Women Artists. 4th ed. New York: Abbeville, 2003

Slip Casting/ Ceramic Sculpture

WHAT IS SLIP CASTING? Slip casting is a process of creating ceramic forms by casting liquid clay (slip) into plaster molds. This process is most useful when you want to make multiples of a form. The molds enable you to create identical copies. —————– In the classroom, slip cast multiples can be used to†¦. -create multiples of a student’s ceramic artwork (for gift giving or a new sculpture of multiples) -create identical starting forms that students will manipulate to create their own unique artwork – try out different glaze techniques on – allow experimentation without the fear of â€Å"ruining† the artwork Materials All you need for slip casting: Plaster mold, Clay slip, kiln Necessary items if you want to make your molds: five gallon bucket, plasticene ( non hardening clay), Vaseline /liquid soap, hammer , chisel/screwdriver, —– Plaster and slip are available at most ceramic supply centers. I listed some local suppliers on the resources page in this packet. Plaster comes in a couple different types. Pottery plaster is the standard and readily available at ceramic supply stores. Casting plaster is only necessary if you want to make extremely detailed pieces. I go with the cheapest and it works fine for classwork. Just as  clay comes in many forms, so does slip. The texture and chemical content of the slip dictate what type of clay body it forms. Clay slip bodies range from fine delicate porcelain to coarse strong stoneware. Your firing temperature depends on the content of your slip. For normal classroom use I use low fire white casting slip. It is available in premixed 2gallon bags from most ceramic supply stores. It usually runs about 8 dollars a bag. Four gallons is enough for a class of twelve to make at least two ten inch hollow forms. HOW EXACTLY do you CAST SLIP? First, you need a mold made of plaster. It must be plaster because the plaster absorbs the water from the slip. Fill the mold with slip. As the mold absorbs the water, the level of the slip in the mold will go down requiring you to top off the mold. You want the slip to stay level with the horizontal surface of the mold. If you want a hollow form , you have to dump out the excess slip. Watch for an eighth of an inch skin of slip to form on the edges of the piece before you dump the slip. That skin is now the wall of your hollow piece. For small pieces, it only takes about five minutes before you are able to dump out the excess slip. If you leave a mold filled with slip too long, the ceramic piece will be thick and heavy. Which doesn’t really matter, but it wastes a lot of slip. If you don't leave it in long enough, it will tear as it comes out of the mold and be useless. You can pour solid. Usually this practice is used for plates, bowls, and other utility items. To pour solid, just keep filling the mold with slip until it stops sucking up slip. [pic] HOW DO YOU get the piece OUT OF the MOLD? After you have dumped the excess slip, the mold has to sit and dry. The mold pulls the water out of the clay and dries the piece out. To speed up the drying you can use a fan, blowing across the molds, or put your molds on top of a hot kiln. The larger the piece the longer it will take to dry. If you leave a piece in the mold too long, it will dry out too much and crack. If you don't leave it in long enough, it won't come out easily and will tear. You can tell if a piece is ready to come out of the mold if it has pulled away from the sides of the mold/pour hole. When the casting is dry enough to take out, gently pull your casting, now more like leatherhard clay, out of the mold. It should release easily, if the piece is dry enough. Try to pull the piece straight out of the mold to keep from warping its shape. When the piece comes out of the mold it will be a dark gray. Once out of the mold it will continue to dry and will turn light gray. After the piece has dried to a light gray almost white, it is ready to fire in the kiln. Adapted from: http://www. rykerstudios. com/ceramics/articles/slipcasting. htm RESOURCES Casting Slip Available in Atlanta from: — Daven’s Ceramic Center http://davensceramiccenter. com/ 5076 Peachtree Road, Atlanta, GA   30341 Fax:   770-455-7012 4805. Atlanta Area   770-451-2105 [email  protected] om Casting Supplies ONLINE — Axner Ceramic Supply http://www. axner. com/axner/supplies/slip-casting. php — mold making and casting materials http://www. smooth-on. com/ How to Resources: Trouble shooting guide- http://aardvarkclay. com/pdf/technical/Basics%20of%20slip%20casting. pdf Short History of slip casting- http://www. lindawilsonceramics. co. za/3. ht ml Deflocculation of slip-(make your own)– http://ceramic-materials. com/cermat/education/213. html Videos- YouTube Video- http://www. youtube. com/watch? v=8u_SABU_8d0 Advanced mold making video demos- http://www. smooth-on. com/media. php

Should Body Modifications Be Allowed - 1226 Words

Individuals should be able to express themselves without having limitations as to which occupation they have because modifications do not harm customers or others, they are people who need jobs like the rest of us, and it is unfair. Often, when most people hear the words â€Å"body modifications† they think about the huge plates in people’s ears or lips. Most people fail to realize that body modifications can be as simple as tanning, dieting, or more drastic, plastic surgery. As society develops, body modifications such as tattooing, hair color, and stretched ears are becoming more of a social â€Å"norm† and increasingly popular. A few prominent historical examples of body modifications include neck elongation in Africa and Thailand, ear lobe stretching in Africa, and corseting in Western Nations (Barker Barker 2002). As body modifications have become increasingly common, the issue of discrimination toward people who possess them in the workplace has become greater and desperately needs to be addressed. I believe people who possess modifications should not be looked at as weird or not normal. These individuals are living, breathing humans like the rest of us who have a different way of expressing themselves. Whether they have a tattoo on their wrist or not should not determine if they are fit for the job. If they can follow instructions, work well with others, and contribute to the business, they are fit for the job. I feel as though more than often; employers or managers getShow MoreRelatedTattoos Piercings in the Workplace Essay878 Words   |  4 PagesTattoos amp; Piercings in the Workplace PHI221 Shelley Hipps College America Abstract This paper focuses on the subject of whether or not tattoos and piercings should be allowed in the workplace. 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