Answer:
The image is of a side profile of a woman's head, mounted on a cubed-base. She appears to be leaning, or perhaps falling. Although the woman is obviously plastic, the apathy and surrender in her face is supported by the statement, which written vertically down the left-hand side of the picture. The eye natural goes to the woman's eye, and then tends to drift up towards the word and the top and then down the statement, which gives the piece balance along with the use of shades and shadows creating unity.
Explanation:
<span>Most art critics and historians agree that in the decade of the CONTEMPORARY ART, modern art ended. Modern Art did not really go away in a snap but instead it faded into the background as pop culture arose and social issues concerning authorities became the highlight of society.</span>
C. characteristics feature that distinguishes the character or feel of the music
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
It occurred during the Age of Pericles.
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