Group items tagged

Jennings, Tracy. "Sades of Chanel". Clothing and Textiles Research Journal. ohioLINK. Web. 3 Nov 2010. This is about how Chanel's work has influenced this person to make their own design. How Chanel's past work is seen in every aspect from the design, color and to the cut and fabric of the suit.

This article might be useful for those seeking to do a study of the evolution of punk. From the OhioLINK abstract: This article examines how older fans of punk rock articulate their continuing attachment to the music and its associated visual style.While sociological research on popular music audiences is well established, little attention has been paid to the articulation and management of fan practices of individuals beyond the age of 30. Based on ethnographic interviews conducted with older punk fans in East Kent, England, the article begins to redress this oversight in studies of popular music audiences.This involves an assessment of both the way in which articulations of punk style transgress with age from the visual to the biographical and how older punks develop particular discursive practices as a means of legitimating their place within a scene dominated by younger punk fans.

This is not a citable scholarly source, but an article listing other sources of information about hip-hop, making it a good find for those researching the topic. The OhioLINK abstract: This bibliographical essay describes a wide array of resources relating to hip-hop culture and rap music, including definitions and overviews, bibliographies, discographies, encyclopedias, historical and biographical information, articles and databases, sound and video recordings, lyrics, information about rap songs, hip-hop terminology and slang, photographs, Web sites, and research collections. The final section is devoted to collecting hip-hop and rap materials for libraries. While the essay is primarily intended to serve as a guide for music librarians who provide reference service and library instruction, and to those with collection development responsibilities, it may also prove useful to educators, students, and those beginning to conduct research on hip-hop or rap.

Hip-hop style, a controversial dress form associated with rap music culture in the 1990s, is analyzed and interpreted based on premises associated with structural approaches to semiotics. The semiotic system is isolated in time, and three coding operations are considered in terms of the relationships they establish between elements of the system and potential meanings ascribed to these: paradigmatic alignment (bipolar opposition), denotation and connotation (literal and extended descriptions), and figurative devices (implied figures of speech). Results reveal the structure of the system in terms of a dialectic between signs in the hip-hop system and signs in the system of conventional dress. Components of the rule system of conventional dress are exposed, and figurative language supporting the hip-hop system is described. The hip-hop system is construed as an example of a larger category of appearance-related systems designated extraordinary dress, poised in opposition to ordinary appearance forms. Implications include potential contributions to theory development. (From the OhioLINK abstract.)

Uniquely situated at the heart of African-American youth culture, hip-hop is about music, style and voice. In many ways hip-hop is also about political action. Any discussion of hip-hop culture and rap music lends itself to examinations of rap as a means of protest among inner-city African-American youth. But the resistive benefits of rap music are not limited to its African-American listeners as can be seen by its widespread popularity among youth of all different races, classes and nationalities. As the cultural and political voice of an entire generation of youth, hip-hop has become a means of political action for its artists and fans. In addition to its prominent resistive role, political action in the hip-hop community includes political deliberation and direct uses of hip-hop to increase political awareness and to organize collaborative action. (From the OhioLINK abstract.)

Small, Sabrina. "What's Eating Andy Warhol? Food and Identity in Pop Art." Program in Gastronomy (2006): 400+. OhioLink. Web. 10 Nov. 2010. This article is an overview of some of Warhol's pieces. This is a Description of Andy's works and how his art topics relate to mass produced items in the US, like soup and Hershey bars. His art work reflects the population of America and civilized cultures around the world. Most of his art pieces are Pop Art genre. Many of his pieces reflect American culture/society.

Shanes, Eric. "The Pop Art Tradition: Responding to Mass Culture." Parkstone Press International (2006): Ohiolink. Web. 16 Nov. 2010. Shanes traces the roots of popular mass culture in the late 18th century when the industrial and political revolutions industrialized the Western World. Pop Art is said to have originated from Surrealism in Britain when Eduardo Paolozzi, Peter Blake, and Richard Hamilton began exploring comic books, advertising, and folk culture. Artist, Claes Oldenberg, began works of art that connected to "store exhibitions," which filled galleries with common American objects. This emphasized and worshiped consumer goods.

Danto, Arthur. "Andy Warhol." Yale University Press (2009): Ohiolink. Web. 16 Nov. 2010. Arthur Danto sees Andy Warhol as the "Artist of the second half of the 20th century," and the "artist laureate of the American soul." He describes how Andy Warhol drew/painted many symbols of post war America and describes Andy Warhol's work in two levels: "the level of fears and agonies, and the level of beauties. The level of plane crashes, suicides, accidents, executions; and the level of Marilyn, Liz, Jackie, Elvis, Jesus, radiant with glamor and celebrity." Warhol moved from commercial art to pop art. Danto explains how Warhol's art relieved anxiety in American society and culture."He was moved by the same things that his audience was moved by," states Danto.

Grudin, Anthony. "A Sign of Good Taste: Andy Warhol and the Rise of Brand Image Advertising." Oxford University Press 33. Ohiolink. Web. 16 Nov. 2010. Andy Warhol's art was called "tasteless trash" by Kirk Varnedoe. However, Grudin believes that statement is very misleading. He states that, "Cambells, Brillo, and Coca Cola were being targeted at the working class in the late 50's, early 60's, and they were more likely to consume these brand named items." Warhol's recreation of these items show the strengths and weaknesses of a marketing strategy that is still relevant in today's society. People think that his artwork is often directed toward everyone, and that it shows that there is no class system. Grudin states that "the crisis of the brand image has been recognized as an important contributing element in the reception of Warhol's work and in it's broader historical context."

Walker, John. "Warhol-Human or Anti-Human?" Tate Publishing (2008): Ohiolink. Web. 16 Nov. 2010. Does Andy Warhol deserve so much attention for what he has accomplished? Walker believes that, yes, he does. This stands to be correct because Andy Warhol appeared in so many different forms of media and appealed to all of his audiences. This article helps prove the underlying feelings behind Andy Warhol's art. This article describes how Warhol appealed to his audience.

Keller, Victoria. "Andy Warhol: A Celebration of Life... and Death." Blackwell Publishing (2008): Ohiolink. Web. 16 Nov. 2010. This article is a basic biography of Andy Warhol's life and work. Andy Warhol was born in Pittsburg, Pennsylvania in 1928. He received his art training at Pittsburgh's Carnegie Institute of Technology and went on to become a commercial illustrator in NYC in the 50's. Warhol had his mind set on becoming a solo artist all throughout his career. His first solo exhibit was in 1962, where his 32 Campbell Soup can paintings were displayed.

Byrne, L. "Picasso, Guernica, History." Art Book 14.3 (2007): OhioLINK: Electronic Journal Center. Web. 1 November 2010. Byrne reviews a work by Fransisco Calvo Serraller and Jorge Semprun on Picasso's Guernica. The painting was painted for the Spanish Pavilion at the International Exhibition in Paris in 1937. Guernica is a summary of the wars of the past one hundred years (Byrne 13). Serraller's thinks that the painting is one of the greatest paintings of all time because it was created out of "historical tradition" genius which he believed only Picasso and a select few were capable of.

This article provides information and history on Futurism.

An older article that could apply to varying investigations into the punk movement.

This article makes connections between futurism and politics at the turn of the last century, particularly fascism.

MacNamidhe, Margaret. "Impression: Painting Quickly in France 1860-1890 (review)." Nineteenth Century French Studies 31.3-4 (2003), 352-354. This article by Margret MacNamidhe reviews the style of Impression paintings. In particular, they look at the quickness of the brush and analyize it. For example, the author commented how painstakingly it took Monet to get the right atmospheric shades without blending the wrong colors together. She continued to explain how, through the ages of Monet's paintings, he developed this particular technique and one could notice with the crusting up of the paint in later works.

This review highlights the "high pitch" of the Surrealist movement in the 1930s and the 1940s. It incorporates multiple Surrealist artists, especially Salvador Dali. The author talks about the Surrealist exhibitions and their unique value that were considered to be "ideological spaces." It states that Dali was well-known artist, but eventually he became obsessed with commercialism. At this time period, society was based on consumerism and media advertisement that Dali got caught up in leading to his downfall.

scholarly. where is your MLA citation?

Furnham, Adrian, and John Walker.  "Personality and Judgements of Abstract, Pop Art, and Representational Paintings."  European Journal of Personality, vol. 15, issue 1 (2001): 57-72.  Web.  15 Nov. 2009. This article is an interesting study conducted by Adrian Furnham and John Walker to see "which personality variables are most predictive of judgments of particular types of painting" (Furnham, Walker 1).  They conducted this by having a totally of 124 people judge 24 pieces of art.  The artwork was abstract, pop art, or representational paintings.  This article gives insight in looking into Warhol's life; as his intentions in his work are often very hard for one to uncover.  

Malt, Johanna. "Surrealism, Art and Modern Science: Relativity, Quantum Mechanics, Epistemology." French Studies 64.4 (2010): 502-503. Web. 7 Nov. 2010. This article discusses how Salvador Dali and Max Ernst became familiar with the philosophical views that go along with the works of Einstein, Bohr, Heisenberg, and Schrodinger. These enlightenment thinkers tied the science of physics with literature and the arts. The ideas of Physics are also known to serve as a significant connection to the deeper thoughts and practices associated with the Surrealist movement. Gaston Bacherald agrees with the ideas of space, relativity, and fourth-dimensional art likewise to Salvador Dali. These ideas of Bacherald and Dali correlate with the quantum theory in modern philosophy. Susan Whitney of the Catholic and Communist Party stresses the importance of gender relations and art. She believes that new literature will correspond with twentieth-century art.

Rattray, Jacqueline. "Analyzing Surrealist Madness Through the Poetry of Salvador Dalí." Comparative Critical Studies 5.2 (2008), 207-220. This article describes the madness that Salvador Dali possessed and how it effected the Surrealist art movement. This madness was introduced through his art, especially poetry. It describes the term of "paranoiac-critical method" and it's role in Dali's art.

scholarly. Vary your intro sentences more. There is a lot of "This article...", "This review..."