How Louise Bourgeois creates meaning in ‘Maman’ through her use of material, shape and context of her life. Figure 1: Louise Bourgeois 'Mama' Spider, Tate Modern, London (2007) I have chosen this sculpture called ‘Maman’ by Louise Bourgeois. The reason for this is because from research I have found, the context behind this sculpture I found very interesting, also in this essay I will discuss the material, context and shape of ‘Maman’ and the positive and negative feelings it provokes. Also, I will give examples of other artist’s works similar to Bourgeois and how she has influenced them. I remember seeing this object two years ago when I visited the Modern Tate museum.
I am not from New York, so this was not one of the sites I learned about in history class. I enjoyed visiting the street though, and I learned a lot. The inside of the houses in general were very different than what we are used to. They are not made for tall people because in every house I had to duck. In the earlier houses, they were very small, expanded outwards instead of building up.
I am not debating that anything in that gallery was not art, but frankly, if I had all the money in the world and I was asked to pick any works of art, it would not be from the selections I found in the “Selections from the Beardon Project” exhibit. Portrait of a Young Girl, while eye capturing, is not a piece I could see being studied in the distant future. It was too much of an introspective piece, it meant something to the artist, but the observer could not really connect to it. The next piece, Photographs with and Audience (Miami) Collage, is, if possible, the least canonical piece of art in the exhibit. It was bulky and colorless, therefore not aesthetically pleasing.
Sometimes the verses rhyme, and sometimes they don’t but either way the story is told. In the book What My Mother Doesn’t Know the main character Sophie is telling the story. Page 89 reads “More or Less”/ If Dylan and I had met/ by chatting on the net/ in a room in cyberspace/ instead of face to face/ and I hadn’t seen his lips/ or the way he moves his hips/ when he does that sexy dance/ and I hadn’t had the chance/ to look into those eyes/ or be dazzled by their size/ and all that I had seen/ were his letters on my screen,/ then I might as well confess:/ I think I would have liked him/ less/(WMMDK). Though this is a poem, and in the middle of the story, it pertains to the story, and keeps the story going. I really like Sonya Sones work, I read her first novel Stop Pretending when I was in 7th grade, and loved her work.
When I proceeded to my first exhibit I was, honestly, mildly amused. As I examined the room filled with artwork decorating the walls, I could not locate a painting that would seize my attention until; I walked through the door and into another part of the exhibit. In this room I saw a painting that did just that, ravished my senses, but unbeknown to me this would be a regular occurrence for the duration of my visit. Walking through the different exhibits was captivating, with some causing me to feel deep emotion in just observing them. The sculptures were magnificent being able to pay close advertency to the detail.
And when it was all done, when she had ducked the interesting questions (What do you think of the World War II Memorial?) and declared herself uninterested in talking about monuments, and a reluctant architect who isn't looking for commissions, and tried to focus attention on her low-key environmental art, a subtle shift took place in the meaning of the project that made her famous. She has sealed it off, and declines to be drawn into the subject. The Vietnam Memorial used to be the First Great Work of Maya Lin. But that Lin is gone, transformed into Lin the Artist, who, despite having served on the panel that chose a design for the memorial at the World Trade Center site, wants to project an image of disengagement from the huge civic issues she raised.
The experience of viewing this piece compelled me to go home and do some research on these distinct pieces. I found several websites that uncovered the history of this art work. I discovered many other pieces that I admired. The individualality of each piece make them something special. Nothing could compare to the fascination I had with the Gnathia-Ware art I encountered at the museum.
Women's Involvement in World War I Source A is a secondary source, and is a letter, written in 1976. It is mostly fact with the only biased statement being "I hated every minute of it". The woman it was written by lived through the actual events, which is an advantage, but with it having been written so many years later, she may well have forgotten some of the details. As the woman was not anyone famous, she probably didn't write the letter thinking it would be published. Therefore the letter was probably written to inform, and as it is neither biased nor written with an eye to publishing then it is probably reliable.
Mrs. Mckannan said there was a major lack of interest this year and very few students were running. She showered me in compliments addressing how fantastic of a leader I was and how necessary my skills were for this job. Finally I caved and agreed to be put on the ballot. I figured my compliance would please her and I could do no campaigning and fly
For example, Thigpen and Cleckley’s study was a case study based on one woman with a unique personality and experiences. Because the study cannot be compared and was conducted over a long period of time by the same researchers, its reliability cannot be checked. Although it may be valid the sample is not representative, so results cannot be generalised and it is highly prone to subjectivity. For example, at one point in the study the experimenter describes Eve Black emerging and there suddenly being a glint in her eye and a sexual air when she crosses her legs that he had not noticed before. It cannot be proved that this was in fact Eve Black’s presence, or the experimenter projecting his own assumptions and feelings onto