Biography of Andy Warhol, Icon of Pop Art

Biography of Andy Warhol, Icon of Pop Art Andy Warhol (born Andrew Warhola; Aug. 6, 1928–Feb. 22, 1987) was one of the most important artists of pop art, a genre that became popular in the second half of the 20th century. Though he is best remembered for his mass-produced paintings of Campbells soup cans, he created hundreds of other works ranging from commercial advertisements to films. His best-known work, including the soup cans, reflected his views on the banality that he saw in the commercial culture of America. Fast Facts; Andy Warhol Known For: Pop artAlso Known As: Andrew WarholaBorn: Aug. 6, 1928 in Pittsburgh, PennsylvaniaParents: Andrej and Julia WarholaDied: Feb. 22, 1987 in New York, New YorkEducation: Carnegie Institute of Technology (now Carnegie Mellon University)Published Works: Commercial illustrations, paintings, filmsï » ¿Notable Quote: I just happen to like ordinary things. When I paint them, I dont try to make them extraordinary. I just try to paint them ordinary-ordinary. Early Life and Education Andy Warhol was born on Aug. 6, 1928, in Pittsburgh, Pennsylvania, and grew up there with his older brothers, Paul and John, and his parents, Andrej and Julia Warhola, both of whom had emigrated from Czechoslovakia (now called Slovakia). Devout Byzantine Catholics, the family regularly attended Mass and observed their Eastern European heritage. Even as a young boy, Warhol liked to draw, color, and cut and paste pictures. His mother, who was also artistic, encouraged him by giving him a chocolate bar every time he finished a page in his coloring book. Elementary school was traumatic for Warhol, especially once he contracted Sydenhams chorea, also known as St. Vitus dance, a disease that attacks the nervous system and makes the sufferer shake uncontrollably. Warhol missed a lot of school during several month-long periods of bed rest. Additionally, large, pink blotches on Warhols skin, also from the disorder, didnt help his self-esteem or acceptance by other students. This led to nicknames such as â€Å"Spot† and â€Å"Andy the Red-Nosed Warhola† and a lifelong interest in clothing, wigs, cosmetics, and, later, plastic surgery in response to what he perceived as his flaws. During high school, Warhol took art classes there and at the Carnegie Institute (now the Carnegie Museum of Art). He was somewhat of an outcast because he was quiet, could always be found with a sketchbook in his hands, and had shockingly pale skin and white-blond hair. Warhol also loved to go to movies and started a collection of celebrity memorabilia, particularly autographed photos. A number of these pictures appeared in Warhols later artwork. Warhol graduated from high school and then went to the Carnegie Institute of Technology (now Carnegie Mellon University) in 1945, graduating in 1949 with a major in pictorial design. Blotted-Line Technique During college, Warhol developed the blotted-line technique, which involved taping two pieces of blank paper together at an edge and then drawing in ink on one page. Before the ink dried, he pressed the two pieces of paper together. The resulting image was a picture with irregular lines that he could fill in with watercolor. Warhol moved to New York right after college and worked there for a decade as a commercial illustrator. He quickly earned a reputation in the 1950s for using his blotted-line technique in commercial advertisements. Some of Warhols most famous ads were for shoes for I. Miller, but he also drew Christmas cards for Tiffany Co., created book and album covers, and illustrated Amy Vanderbilts Complete Book of Etiquette. Pop Art Around 1960, Warhol decided to make a name for himself in pop art, a new style of art that had begun in England in the mid-1950s and consisted of realistic renditions of popular, everyday items. Warhol had turned away from the blotted-line technique and had decided to use paint and canvas, but he was having trouble deciding what to paint. Warhol began with Coke bottles and comic strips, but his work wasnt getting the attention he wanted. In December 1961, a friend gave Warhol an idea: he should paint what he liked most in the world, perhaps something such as money or a can of soup. Warhol painted both. Warhols first exhibition in an art gallery came in 1962 at the Ferus Gallery in Los Angeles. He displayed his canvases of Campbells soup, one for each of the 32 types of soup made by the company. He sold all the paintings as a set for $1,000. Before long, Warhols work was known all over the world and he was in the vanguard of the new pop art movement. Silk-Screening Unfortunately for Warhol, he found that he couldnt make his paintings fast enough on canvas. In July 1962, he discovered the process of silk screening, which uses a specially prepared section of silk as a stencil, allowing one silk-screen image to create similar patterns multiple times. He immediately began making paintings of political and Hollywood celebrities, most notably a large collection of paintings of Marilyn Monroe. Warhol would use this style for the rest of his life. Mass production not only spread his art; it became his art form. Movies In the 1960s as Warhol continued to paint, he also made films, which were known for creative eroticism, lack of plots, and extreme length- up to 25 hours. From 1963 to 1968, he made nearly 60 movies. One of his movies, Sleep, is a five-and-a-half-hour film of a nude man sleeping. â€Å"We were shooting so many, we never even bothered to give titles to a lot of them,† Warhol later recalled. On July 3, 1968, disgruntled actress Valerie Solanas, one of the hangers-on at Warhols studio known as The Factory, shot him in the chest. Less than 30 minutes later, Warhol was pronounced clinically dead. The doctor then cut Warhols chest open and massaged his heart for a final effort to get it started again. It worked. Though his life was saved, it took a long time for him to recover. Warhol continued to paint during the 1970s and 1980s. He also began publishing a magazine called Interview and several books about himself and pop art. He even dabbled in television, producing two shows- Andy Warhol’s TV  and  Andy Warhol’s Fifteen Minutes,- for MTV and appearing on  The Love Boat  and  Saturday Night Live. Death On Feb. 21, 1987, Warhol underwent routine gallbladder surgery. Though the operation went well, Warhol unexpectedly passed away the following morning from complications. He was 58. Legacy Warhol’s work is featured in an enormous collection at the  Andy Warhol Museum in Pittsburgh, which the website describes as one of the most comprehensive single-artist museums in the world and the largest in North America. It includes paintings, drawings, commercial illustrations, sculptures, prints, photographs, wallpapers, sketchbooks, and books covering Warhol’s career, from his student work to pop art paintings and collaborations. In his will, the artist directed that his entire estate be used to create a foundation for the advancement of the visual arts. The  Andy Warhol Foundation for the Visual Arts was established in 1987. Sources Andy Warhol: American Artist. Encyclopedia Britannica.Andy Warhols Life. Warhol.org.ï » ¿

The Mousterian Middle Paleolithic Tool Industry

The Mousterian Middle Paleolithic Tool Industry The Mousterian industry is the name archaeologists have given to an ancient Middle Stone Age method of making stone tools. The Mousterian is associated with our hominid relatives the Neanderthals in Europe and Asia and both Early Modern Human and Neanderthals in Africa. Mousterian stone tools were in use between about 200,000 years ago, until roughly 30,000 years ago, after the Acheulean industry, and about the same time as the Fauresmith tradition in South Africa. Stone Tools of the Mousterian The Mousterian stone tool production type is considered a technological step forward consisting of a transition from Lower Paleolithic hand-held Acheulean hand axes to hafted tools. Hafted tools are stone points or blades mounted on wooden shafts and wielded as spears or perhaps bow and arrow. A typical Mousterian stone tool assemblage is primarily defined as a flake-based tool kit made using the Levallois technique, rather than later blade-based tools. In traditional archaeological terminology, flakes are variously shaped thin stone sheets knapped off a core, while blades are flakes which are at least twice as long as their widths.   The Mousterian Toolkit Part of the Mousterian assemblage is made up of Levallois tools such as points and cores. The tool kit varies from place to place and from time to time but in general, includes the following tools: Mousterian point/convergent scraper: short, broad triangular projectile points struck from prepared coresLevallois flakes with retouch: sub-oval, subquadrangular, triangular, or leaf-shaped flakes struck from cores, which may have been retouched, that is to say, a series of small purposeful flakes have been removed from the flake to create an edge which is either sharp for cutting or blunted to make it safe to holdLevallois blades: elongated oval or rectangular blanks removed from cores with basal preparation and correction of the core convexityLevallois cores: include two types, pebble and bipolar. Pebble cores are clasts or angular rock fragments from which a series of flakes have been detached by percussion; bipolar cores are those created by placing the clast on a hard surface and striking it from above with a hard percussor History The Mousterian tool kit was identified in the 20th century to solve chronostratigraphic problems in western European Middle Paleolithic stone tool assemblages. Middle Stone Age tools were first intensively mapped in the  Levant  where British archaeologist Dorothy Garrod identified the Levantine  facies  at the site of Mugharet et-Tabà ¼n or Tabun Cave in what is today Israel. The traditional Levantine process is defined below: Tabun D or Phase 1 Levantine (270 to 170 thousand years ago [ka]), laminar blanks from Levallois and non-Levallois unipolar and  bi-polar  cores, higher frequency of retouched piecesTabun C or Phase 2 Levantine (170 to 90  ka) oval or rectangular blanks from cores, Mousterian points, side  scrapers, notches, and denticulatesTabun B or Phase 3 Levantine (90 to 48  ka), blanks from Levallois cores, Mousterian points, thin flakes and blades Since Garrods day, the Mousterian has been used as a point of departure to compare stone tools from Africa and southwest Asia. Recent Critiques However, United States archaeologist John Shea has suggested that the Mousterian category may have outlived its usefulness and may even be getting in the way of the ability for scholars to effectively study human behaviors. The Mousterian lithic technology was defined as a single entity in the early 20th century, and although during the first half of that century a range of scholars tried to subdivide it, they were largely unsuccessful. Shea (2014) points out that different regions have different percentages of the different tool types and the categories are not based on what scholars are interested in learning. Scholars would like to know, after all, what was the tool making strategy for different groups, and that is not readily available from the Mousterian technology in the way it is currently defined. Shea proposes that moving away from the traditional categories would open up paleolithic archaeology and enable it to address the central issues in paleoanthropology. A Few Mousterian Sites Levant Israel: Qafzeh, Skhul, Kebara, Hayonim, Tabun, Emeireh, Amud, Zuttiyeh, El-WadJordan: Ain DiflaSyria: El Kowm North Africa Morocco: Rhafas Cave, Dar es Soltan Central Asia Turkey: Kalatepe DeresiAfghanistan: Darra-i-KurUzbekistan: Teschik-Tasch Europe Gibraltar: Gorhams CaveFrance: Abric Romani, St. Cesaire, Grotte du NoistierSpain: LArbreda CaveSiberia: Denisova CaveUkraine: Moldova SitesCroatia: Vindija Cave Selected Sources Bar-Yosef O. 2008. ASIA, WEST: Palaeolithic Cultures. In: Pearsall DM, editor. Encyclopedia of Archaeology. New York: Academic Press. p 865-875.Close AE, and Minichillo T. 2007. Archaeological Records: Global Expansion 300,000-8000 years ago, Africa. In: Elias SA, editor. Encyclopedia of Quaternary Science. Oxford: Elsevier. p 99-107.Culley EV, Popescu G, and Clark GA. 2013. An analysis of the compositional integrity of the Levantine Mousterian facies. Quaternary International 300:213-233.Petraglia MD, and Dennell R. 2007. Archaeological Records: Global Expansion 300,000-8000 years ago, Asia. In: Elias SA, editor. Encyclopedia of Quaternary Science. Oxford: Elsevier. p 107-118.Shea JJ. 2013. Lithic Modes A–I: A New Framework for Describing Global-Scale Variation in Stone Tool Technology Illustrated with Evidence from the East Mediterranean Levant. Journal of Archaeological Method and Theory 20(1):151-186.Shea JJ. 2014. Sink the Mousterian? Named stone tool industries (NASTIES) as obstacles to investigating hominin evolutionary relationships in the Later Middle Paleolithic Levant. Quaternary International 350:169-179.

The Role of Women as Patrons during the Renaissance Essay

The Role of Women as Patrons during the Renaissance - Essay Example The Renaissance humanists embraced Christianity and, therefore, the church was at the forefront in patronizing many artistic works of Renaissance (Conelli 2004). The Renaissance was largely marked by the return to classical ideas that brought about the age of awakening in Italy and northern Europe between 1400AD and 1600AD (Thomson 1984). During Renaissance, or born anew in French, artist were exploring new ideas and, this lead to a wide discovery of talent and innovation. During and before Renaissance, men ruled over everything from political to social. A woman at these times was supposed to get married, give birth to boys and stay loyal to her husband (Trager 1994). A Renaissance man was expected to be well educated in a way that he understood proficiently art and science and have cultural grace. Women of all classes were expected to perform the duties of a housewife, or work in the fields if they were peasantry women. For middle-class women, they helped run their husbands business es while women of the noble class engaged in sewing, cooking, and entertainment. However, since the explosion of art and architecture presented opportunities individual’s growth, there were wealthy women who broke the mold of subjugation and achieved fame and independence (Chambers 1970). Most of these women learned how to paint in their father’s workshops while women of the high class had the opportunity to learn the art and practice architecture. Against this background, this essay examines the role of women as patrons of art and architecture during the Renaissance. Artistic Patronage Patrons of art had a significant role in the development of art in the Renaissance Europe. Patrons were not only customers of art but were also initiators of the same, and they often dictated on the art form and content (Chambers 1970). In most cases, art patronage was carried out by wealthy families of status, and it acted as a show of power. Art patronage was relevant for religious pu rposes, entertainment and as a source of political propaganda. As a result, the influence of the art was essential to the wellbeing of any artist. Artistic patronage was a formal undertaking with contracts defining the cost materials and dimensions of the project (Chambers 1970). For architectural works, the sketch of the project and the timeline, as well as the content of the piece, was contained in the contact form. A Patron of art or architecture offered a lot of support that placed him or her beyond the position of a mere customer. Art patronage originated from religious practices as noted by Tuscan merchant Francesco di Marco Datini of the 14th century that pictures moved ones spirit to devotion (Ciletti 1984). Therefore, the intention of any patron to any painting or curving was to devote such an art for religious purposes. Most portraits, placed at altering for a chapel, were meant to earn grace for the patron in redeeming her souls from the torments of purgatory (Ciletti 198 4). This was the theme and the form that Medici family in the early Florence artistic and architectural patronage undertook. Moreover, patrons were portrayed in paintings of religious subjects like in the work of Jan Van Eyck’s Madonna of the Canon van der Paele (Chambers 1970).

Ulysses S. Grant and The Gilded Age Essay Example | Topics and Well Written Essays - 2750 words

Ulysses S. Grant and The Gilded Age - Essay Example To be fair, keeping up with such expansion would have been a difficult task for any man. The challenges seem mind-boggling, even by contemporary standards. After the Civil War the United States was saddled with a huge national debt, the South's economy was virtually destroyed, the West was being opened up at a rapid pace (despite the increasingly desperate resistance of those whom Grant called "the original occupants of the land"), and the industrialization would very shortly make U.S. productivity soar above that of the United Kingdom. New inventions small and large were changing American life at a dizzying pace: the telegraph, the vast expansion of the railroads, gaslight, the iron-hulled, steam-engined ocean liner and battleship, new agricultural machinery, the safety razor, the repeating rifle, the fountain pen-there seemed no end to American invention and ingenuity-while at the same time the cities of the Northeast and Midwest expanded at breakneck speed to accommodate millions of new immigrants, creating a building boom and sending land prices sky high.4 Faced with all of these challenges, Grant took an unheard of approach in selecting members for his cabinet. He had long since made known his disdain for the political games of Washington. And rather than appoint public officials well-versed the problems of the day, Grant opted to appoint a collection of personal acquaintances and former military connections. Of course, "traditional interpretations of the Grant administration assert that the president-elect erred in not consulting broadly among the nation's political leaders before selecting his cabinet."5 The Senate, initially stunned by... This essay starts with a discussion of the general-turned-president, Ulysses S. Grant. While history cannot help but respect Grant’s morals and ethics in dealing with highly sensitive issues, the corruption that flourished during his terms, and even in his own administration, often casts a more memorable shadow over the era. Indeed, although an entire book could be dedicated to said corruption, and some have, this essay focuses in Grant’s rise to the presidency and his administration’s dealings in: The Gold Ring, Native American Population, The Whiskey Ring, and technology and labor advances following his terms. Fresh off landmark victories in the Civil War, Grant was quite possibly the most popular man in America. He was a landslide winner for the Republican Party without even making a single stumping speech. Grant was noted for his steadfast determination to meet resistance and pound away until he emerged victorious. Abraham Lincoln, when asked why he liked Gra nt responded, simply, â€Å"He fights.† It can surely be said that for eight years, Grant swam against the tide of public opinion in hopes for peaceful Indian assimilation. With the economy on the upswing, Reconstruction slowly working, Indian assimilation in progress, and rapid expansion into the West, Grant was a landslide winner for a second term. His second term, however, would be much more troublesome than the first. In addition to the rise to prominence of the Klu Klux Klan, Grant’s primary focus was on eliminating corruption from big business.

An Argument for Vegetarianism Essay -- Eating Food Vegetarian Vegetari

An Argument for Vegetarianism ABSTRACT: In this paper I propose to answer the age-old reductio against vegetarianism, which is usually presented in the form of a sarcastic question ( e.g., "How do you justify killing and eating plants?"). Addressing the question takes on special significance in the light of arguments which seem to show that even nonsentient life is intrinsically valuable. Thus, I suggest that we rephrase the question in the following manner: When beings (who are biological and thus dependent on the destruction of other forms of life in order to sustain their own) evolve into societies of moral agents are they entitled merely to assume that they retain their license to destroy other life in order to sustain their own? I answer in the negative. I argue that such societies must continually earn that right by engaging in activity that makes up for and augments the values that they destroy. Unlike other biological beings, humans have complete control over what they eat, whether they eat, and whether t hey reproduce. Hence, the appeals to necessity that are ubiquitous in justifications of both vegetarian and non-vegetarian diets are inauthentic and must be accordingly forsaken. We will have to appeal instead to the value of particular human activities that are fueled by our consumption of other lives. 'So you don't eat animals, but you do eat plants. Plants, like animals, are living things how do you justify killing and eating them?' The mock indignation and air of self-congratulation which invariably accompany this question make it plain that the speaker does not expect the requested information but rather believes that he or she has delivered an original and decisive reductio ad absurdum against vegetariani... ...sort of axiology that last-person arguments are meant to establish. All creatures imaginable are valued and are attributed with at least one sense, from human beings (five-sensed) to leeches (two-sensed) to clods of earth (one-sensed). Any intentional act of violence against any of these is considered sinful, even an act done for a good cause (e.g., to feed human beings). It is odd, then, that Jainism is merely dismissed in environmentalist literature (Nash 1989, 70; Kalupahana 1989, 248; Curtin 1992, 141 n. 12). (3) My complaint here is against the deliberate ascetic. When people lead meager lives on the edge of physical exhaustion and starvation because of the inequities of economic distribution, it is not they but their oppressors who do an injustice to the environment, using the latter to fill their bellies and their wallets through acts of social injustice.

An Analysis of Relationships in “The Kite Runner” Essay

â€Å"In the Kite Runner, relationships between fathers and sons are never joyful†. What do you think of this view? After having read the statement, my initial thoughts were that of course, at some point in the novel, relationships between fathers and sons were happy and full of joy, though after more consideration, I have decided that I agree with the statement, as, even in jubilant moments, the foundations of the relationships are built on lies and deceit, darkening the meaning of the temporarily- found happiness. An example of this would be the relationship between Ali and Hassan who seemingly had a very strong relationship, in which Ali was proud of the person his son was slowly becoming and cherished him dearly, as if his presence simply made the world a better place- â€Å"he had found his joy, his antidote, the moment Sanaubar had given birth to Hassan†. This suggests that, despite the fact we later learn that Ali isn’t Hassan’s paternal father, he has loved him as if he were his own from the very moment he was born, raising him as his own. The extent of Ali’s love is masked, however, by the fact that he lied to his ‘son’ his entire life, something some would claim to be selfish as he wanted to retain an ounce of self-respect, to have something he could call his own and, finally, to actually have a child, as he wouldn’t be able to have one any other way, due to his being sterile. On the other hand, some may say that of course, some of the happier relationships in the novel are purely and simply that: joyous relationships with no ulterior motive or reasoning. For example, the relationship between Hassan and Sohrab, in which it is completely obvious that Hassan would have done anything for his son, whilst being totally honest with him so as not to keep anything from him which may have tainted their lives together in anyway, other than his experience in the alley; omitted in order to allow hi son to maintain his innocence a while longer, in a world where it would surely be taken from him too early anyway. Hassan yearned for his son to be given the best opportunities in life, so as not to be a servant his whole life- â€Å"taught him to read and write- his son was not going to grow up illiterate like he had.†

Nursing Leadership Styles - 1168 Words

Leadership Styles in Professional Nursing Leadership Styles in Professional Nursing Introduction Leaders are not merely those who control others, but act as visionaries who help employees to plan, lead, control, and organize their activities. As states by (Hood, Leddy, amp; Pepper, 2006), â€Å"leadership is a complex term with multiple definitions but is normally defined as a process of influencing others or guiding or directing others to attain mutually agreed upon goals† (as cited by Agnes, 2005). There are several recognized leadership styles such as bureaucratic — where the leader rigidly follows rules, policies, and regulation; or participative — where the leader allows the staff to participate in decision making and seek the†¦show more content†¦Application of Clinical Example â€Å"Transactional leadership is a style of leadership focused on contingent rewards of followers† (McGuire amp; Kennerly, 2006, p.180). Goals are set, directions are given, and rewards are used to reinforce employee behaviors associated with meeting or exceeding established goals. Followers are manipulated and controlled with rewards of praise and recognition, merit raises, and promotions, which can be given or withheld according to the employee’s performance. The outcome of such behavior is enhanced role clarity, job satisfaction and improved performance (McGuire amp; Kennerly, 2006). â€Å"Transformational leaders use ideals, inspiration, intellectual stimulation, and individual consideration to influence the behaviors and attitudes of others† (McGuire amp; Kennerly, 2006, P.180). The leader clarifies the responsibility and accountability of the staff, and identifies and agrees on responsibility. The leader also has continuous consultation and support of the staff. Continuous feedback and update is provided, ongoing evaluations and acknowledgments are given, and achievements are celebrated. 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