Oates places beautiful Marilyn Monroe against the background of a used bookstore to accent how foreign the girl-poets take her to be. In the first two paragraphs of Three Girls, Oates describes the Strand Used Bookstore as dark, dingy, unorganized, and unrefined (77). Whereas, later on in the story, Oates describes Marilyn Monroe as the leading lady, attractive, and charming, even though she is dressed in men’s clothing with her blond hair in a braid (78). Even when the girl-poets describe Marilyn Monroe as “more resembling them, then she resembled her Hollywood image,” she seems to be out of place in the Strand (79). The girl-poets wonder, to themselves of course, why the Marilyn Monroe would be browsing through used books, when she could be walking through the Waldorf-Astoria (80).
Suzanne Lacy describes her role as an activist artist on page 54 of this chapter as she discusses her collaborative project with Leslie Labowitz, In Mourning and in Rage. The artist states: “The art is in making it compelling; the politics is in making it clear. In Mourning and in Rage took trivialized images of mourners as old, powerless women and transformed them into commanding seven-foot-tall figures angrily demanding an end to violence against women.” What did Lacy mean by this statement? Is performance art such as In Mourning and in Rage an effective means of communicating to the public? How does her recent work Whisper, the Waves, the Wind (fig.
Poetry of Sylvia Plath'Miss Drake Proceeds to Supper' Miss Drake Proceeds to Supper. Sylvia Plath Written on a parapet, overlooking the River Seine, on June 1st 156 (Ted Hughes Introduction to collected poems) Sylvia Plath’s ‘Miss Drake Proceeds to Supper’ invites an exploration into insanity and fear through the habits of Miss Drake as she tackles the obstacles in the world her mind has created. The poems opening phrase “No novice in those elaborate rituals which allay the malice of knotted table and crooked chair” highlights the repetitive battle Miss Drake faces as a regular fixture within the institution; the elaborate rituals are the everyday rules and regulations Miss Drake adheres to in order to control her fear of her surroundings. The adjectives used to describe furniture (“knotted table and crooked chair”) show the altered vision of Miss Drake while also describing her both physically and psychologically. The effect of these hallucinations on Miss Drake cause an extreme anxiety and nervousness; at the start of the second stanza, the letter ‘k’ is repeated, this hard alliteration accentuates the jerky, hesitant eye movement as our bird-like character scans the floor for danger, to ‘outwit the brambled plan’ of the floorboards.
Annie Leibovitz being one of the most famous women photographers in modern history frequently explores the concepts of her personal medium. Conveying a significant amount of technique and skill Leibovitz stuns the world with her extrodinary yet unique images.She is one of the most determined photographers for celebrity pictures and became a celebrity herself that way. Annie Leibovitz has always been interested in the arts sincea very young age. In her high school years she focused on music, then dance. When starting univeristy however she took a great interest in visual artists and considered to pursue her career as an art teacher.
This is shown in Act One when she recalls being in a “furious temper” when she was in the department store Milwards, she informs the inspector of the scene where she apparently saw Eva Smith smiling when Sheila tried on a dress. As Sheila was a frequent customer and a member of a higher class she takes advantage of the social standing and orders the store to dismiss the girl or she would “persuade mother to close their account with
I remember seeing this object two years ago when I visited the Modern Tate museum. It grabbed my attention, as it looked disturbing seeing this sculpture 3ft high, plus as it is made out of steel this impressed me. As a result of this, I went home to find out about the artist; Louise Bourgeois and how she named this sculpture after her mother. This was very strange to me as I see the complete opposite; a mother is someone with warmth, comfort and a spider is the contrast. But reading Bourgeois explanation about it, it made sense.
How is Marlene presented as similar to and different from Margret Thatcher? Why does Churchill make these parallels? In Caryl Churchill’s Top Girls, we are shown a world of Post-Feminism and Thatcherism gone mad. Women speak over each other in dialogue, not really listening to what the other is saying, use rude language, and one character leaves her child in the care of her sister so that she may advance in her career. Churchill’s lead character in the play is paradoxically a female misogynist who takes on a stereotypically male business persona who climbs to the top of the corporate ladder.
Through her paintings, she has consistently been critical of the status the medium has held in art history. [pic] Through my research more and more deeply, I found out that the most common subjects in her paintings have been women and interiors. When I first saw hers panting about a dance women, I feel that a kind of hazy beauty. It just likes an artistic conception around me like classic music
Art gives ideas of how people can change or add new ideas to their dances and performances which is based on their cultural background and how art greatly impacts culture. Art has many interpretations to many people. It’s like that saying “A picture is worth a thousand words”. Everyone has their own idea of what they think the picture means and exhibits to them. This reminds of me of all the paintings and sculptures I saw in the Zimmerli art museum and how the Russian and European art influenced what
Marxism identifies the inequality in Porphyria’s Lover through sociological symbols. This is seen in ‘Porphyria's’ bourgeois characterisation through her attire. ‘Withdrew the dripping coat and shawl/and laid her soiled gloves untied...’, adheres ‘Porphyria’ to the description of aristocratic Victorians due to the luxurious imagery. Furthermore, Browning’s archaic sociolect, such as the noun ‘shawl’ instead of scarf, adds elegance to the figure enhancing her high echelon image. ‘Porphyria’s’ middle class characterisation is heightened as she is arriving from a ‘gay feast’; demonstrating a precise impediment within their relationship, as feasts were only approved by lower classes on festival days.