Sunday, November 28, 2010
Make Me Want to Dance
Rhythm. Technique. Feeling. Simon Shaheen. Shaheen is a talented Arab musician. I’ve never crossed paths with this type of music before; it definitely wasn’t something I was expecting. However, it was new and intriguing. At first, the music reminded me of that type of music you hear when you walk into a Greek restaurant that’s playing in the background. In the first song, Simon played the violin. He described the song to be based on a beautiful dancer. You could listen to the melody and envision this magnificent woman moving her body elegantly and smoothly. The music was raspy, deep, and sort of mysterious. This type of sound coming from the violin was unexpected, but I enjoyed it. Not only was Shaheen a talented musician, he also surrounded himself with others that possessed the same talent. The band was more than just an individual or the main performer, but a group, which was nice to see. This doesn’t always happen in pop culture bands we see today. They all worked harmoniously with each other. The group played instruments including a violin, oud, and some sort of flute, bass, drums, and tambourine. During this first song, the thought of Greek influence popped in to my head yet again. This mental picture of a Greek wedding appeared including people dancing in a circle, throwing dishes, and saying “opa” as an act of celebration. ODU! Finally the Oud made its first appearance. Simon in Spain composed this next song called “the Arch”. The music fused multiple different musical types like flamingo and African rhythm. The sound of the Oud was a delight to my ears. There were quick bursts of sound. His fingers were moving rapidly and I thought that it was extremely impressive because I know I could never do that. The feeling of wanting to dance overcame me. At that moment in time, I wished I could flamingo dance. This sparked this vision of a movie in Spain, like a romantic scene with sensual dancing between a man and woman. As the performance went on, the songs were upbeat and the tempo slowly quickened. There were periods of amazingly fast speed Oud playing. Overall, this was my favorite art series performance because it was something truly out of the ordinary.
Saturday, November 27, 2010
Alice in Wonderland
Phyllis? The new Alice? This was my first thought as I walked into Sears Recital Hall. It was this woman sitting down with a miniature, apple red toy piano with pots and pans surrounding her. She appeared like a giant to the small instrument sitting before her, like Alice in multiple scenes throughout the story. In addition, in her introduction, she uses this comparison to Alice in Wonderland. Soon enough, the chiming began. At first, it was sort of magical. Who would’ve ever thought you could accomplish this type of noise with such a small instrument or that of a piano for that matter. However, as the performance went on, my opinion changed. The high-pitched chiming turned to pounding giving me quite the ongoing headache. The next element of the performance was the real piano. She used paper to create a different noise. Unfortunately, this sound wasn’t satisfying what so ever. The piece of paper rattled like static you would hear on the radio or a blank TV channel. In my opinion, the rest of this part sounded like bad horror music in an old movie. The music she was performing wasn’t exactly what I imagine when I think of classical music. In contrast, I did admire her passion for such an unusual instrument. She talked about her discovery and developed love of toy pianos with excitement. While she played, as part of the audience, I noticed she devoted all her energy to the music from the movement of her body, especially her head to the quickness of her fingers. You could tell she truly enjoyed what she was doing. Overall, when I think of toy pianos I imagine them to be like the one in the movie “Big” with Tom Hanks. In this movie, he moves and hops across these large keys on a huge piano on the floor and draws quite a crowd. Hank plays this character that is truly a big kid at heart; maybe Phyllis Chen is a kid at heart playing toy pianos as not only a job, but out of pure enjoyment.
Monday, November 22, 2010
Annotated Bibliography
Salvador Dalí.
"Salvador Dalí." Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
This article provides a short bibliography of Salvador Dali’s life. It gives insight to his early childhood and other artists who inspired him throughout his life. With this understanding of his background, the reader understands why he was one of the leaders of the surrealist movement and how he developed his reputation. It also helps the reader to understand his personality that ultimately led to his downfall at the end of his life.
The Mad, Magnificent Salvador Dali.
Harmon, Melissa Burdick. "The Mad, Magnificent Salvador Dali." Biography 5.1 (2001): 106. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
Dali’s love for art of all kinds began at a young age. Throughout this article, the author provides an insight into the life of Salvador Dali, specifically his childhood and his path towards international fame. People including, his mother, father, and his wife had a great influence in his life that allowed him achieve this fame. The author ends with the tragic end of his life. In addition, it begins to explain what Surrealism is and Dali’s influence on this movement.
The Grand Master of Surrealism Salvador Dalí.
"The Grand Master of Surrealism Salvador Dalí." USA Today Magazine 133.2720 (2005): 34-41. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
Like the title, Salvador Dali is regarded highly in the art world. Dali is referenced as one of the most influential artists of his time and his success is described. This review highlights of the works of Salvador Dali and the exhibitions where his artwork was presented. His artwork changed the views on art, as people knew it and turned heads. This is how he became so well known. Also, it explains the importance Salvador Dali to other artists as a pure inspiration.
Analyzing Surrealist Madness Through the Poetry of Salvador Dalí
Rattray, Jacqueline. "Analyzing Surrealist Madness Through the Poetry of Salvador Dalí." Comparative Critical Studies 5.2 (2008), 207-220.
“Surrealist madness” is a main concept of this movement, focusing on the realms of all mental states to open new possibilities of art in the world. The author does not regard this concept as bad, but embraces it because of the inspirational works that were created out of this sense of madness. Like other artists, Salvador Dali possessed his type of madness. This article explains how it effected the Surrealist art movement. This madness was introduced through Dali’s art, especially his poetry. It describes the term of “paranoiac-critical method” and it’s role in Dali’s art in relation to “surrealist madness”.
The link between artistic creativity and psychopathology: Salvador Dalí
Murphy, Caroline. "The link between artistic creativity and psychopathology: Salvador Dalí." Personality and Individual Differences 46.8 (2009), 765-774.
What is the truth behind Salvador Dali’s “madness”? This article explores this concept and tries to rationalize it. However, this author finds this difficult because there’s little insight into the private life of Dali. The only means of this discovery exists in his art, autobiographies, and interviews with those who were close to him throughout his life.
In addition, it attempts to describe the craziness that Dali was famous for and its relationship to his creative works.
Dalí's Inauthenticity
Rothman, Roger. "Dalí's Inauthenticity." Modernism/modernity 14.3 (2007), 489-497.
According to Rothman, Dali's artwork opened the eyes of its viewers and the profound effect on art movements. His works based on his interest in "illusions, copies, and fakes" that are exclusive to his personality. Dali used modern techniques and traditional techniques and methods for his artwork. In addition, the author provides a critique of Dali and his artwork and how it ultimately changed art, as people knew it during this time period.
THE GREAT LATE Salvador Dalí.
Stolz, George. "THE GREAT LATE Salvador Dalí." ARTnews 104.2 (2005): 120-125. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
This article explains Salvador Dali rising reputation as an artist. The world possessed a growing interest in Dali’s work because it was so unlike what was expected during this time period. Throughout the novel, Stolz describes the works of Dali in detail. Also, it also explains his works and his influence on the development of Pop art in the 1960s.
THE SURREAL WORLD OF SALVADOR DALI
Meisler, Stanley. "THE SURREAL WORLD OF SALVADOR DALÍ." Smithsonian 36.1 (2005): 72-80. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
This article deals with the question if Salvador Dali was a "Genius or Madman?" It tries to differentiate between the two concepts. The "Genius" Meisler was referring to, relate to his talent and unique approach as an artist and to the magnificent works he created. In contrast, the "madman" concept directly relates to his unstable mental state that he was well known for. With his mental state, it allowed the world to take interest in the Dali's different outlook on the Surrealist movement.
Dalí (1904-1989): Psychoanalysis and Pictorial Surrealism.
Martínez-Herrera, Ma José, Antonio G. Alcántara, and Lorena García-Fernández. "Dalí (1904-1989): Psychoanalysis and Pictorial Surrealism." American Journal of Psychiatry 160.5 (2003): 855. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
These authors take us through the life of Salvador Dali and the ups and downs he faced, especially in his earlier years. They focus on his life to show its relation to his works. Aspects of Dali's life are used as deeper meanings in his artwork as forms of symbols like "a lion's head, a hook, grasshopper, and shells" plus many more. His artwork was presented in multiple exhibitions all over the world. Overall, the authors have respect for Dali because he was a "revolutionary contribution to surrealism".
Dali's dimensions.
Kemp, Martin. "Dali's dimensions." Nature 391.6662 (1998): 27. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
Many artists attempted to understand Salvador Dali’s use of the fourth dimension, specifically in the ‘Corpus Hypercubus’ exhibition. This search for this new dimension was shared by not only different artists, but other “pioneers of modernism” including Charles Howard Hinton, a mathematician. The author states how Dali used this concept of the fourth dimension flawlessly.
DALI GOES TO REHAB.
Lacayo, Richard. "DALI GOES TO REHAB." Time 165.8 (2005): 59-60. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
In the 1920s and 1930s, Salvador Dali was considered one of the best artists at the time. This works were considered to be “brilliant and durable”. However, this view of Dali changed overtime. This change was described as a decline on the quality and focus of his work because of this wild personality and unstable mental state. In addition, Lacayo showed his impact of the interpretations of Dali’s work in relation to postmodernism.
Dali's Folly
Kachur, Lewis. "Dalí's Folly." Art in America 91.10 (2003): 70. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
This article highlights the exhibitions, especially the Dream of Venus, of Salvador Dali in 1939. This exhibition was Dali’s attempt of a “rediscovery and revival” from his earlier works. The author describes the type of art that was displayed from the “liquid ladies” to the lobsters by using different techniques and materials. He showed how they contributed to the Surrealist movement.
Dali's Paranoia-Criticism or The Exercise of Freedom.
Finkelstein, Haim. "Dali's Paranoia-Criticism or The Exercise of Freedom." Twentieth Century Literature 21.1 (1975): 59. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
Salvador Dali masterminded the concept of “paranoiac-criticism”. “Paranoiac-criticism” is based on irrational beliefs to make unthinkable art. Finklestein describes the impact and importance of this concept to the Surrealist movement. This concept is an important part of the books written by Salvador Dali and his views on it.
Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations (review)
Tashjian, Dickran,. "Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations (review)." Modernism/modernity 9.1 (2002), 193-194. Ohio Link Database. Web. 1 Nov. 2010.
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.
"New Skin, a New Land!": Dalí's American Metamorphosis
Pine, Julia. "“New Skin, a New Land!”: Dalí’s American Metamorphosis." ESC: English Studies in Canada 34.1 (2009), 37-58.
Pine views Salvador Dali’s autobiography, “The Secret Life”. She gives us insight into his life, which many were unaware of. “The Secret Life” gave the world information about his personal life, so they could begin to understand him better. In addition, it describes his works during Dali’s postsurrealsist, postavant-garde period and how they impacted the Surrealist movement.
"Salvador Dalí." Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
This article provides a short bibliography of Salvador Dali’s life. It gives insight to his early childhood and other artists who inspired him throughout his life. With this understanding of his background, the reader understands why he was one of the leaders of the surrealist movement and how he developed his reputation. It also helps the reader to understand his personality that ultimately led to his downfall at the end of his life.
The Mad, Magnificent Salvador Dali.
Harmon, Melissa Burdick. "The Mad, Magnificent Salvador Dali." Biography 5.1 (2001): 106. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
Dali’s love for art of all kinds began at a young age. Throughout this article, the author provides an insight into the life of Salvador Dali, specifically his childhood and his path towards international fame. People including, his mother, father, and his wife had a great influence in his life that allowed him achieve this fame. The author ends with the tragic end of his life. In addition, it begins to explain what Surrealism is and Dali’s influence on this movement.
The Grand Master of Surrealism Salvador Dalí.
"The Grand Master of Surrealism Salvador Dalí." USA Today Magazine 133.2720 (2005): 34-41. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
Like the title, Salvador Dali is regarded highly in the art world. Dali is referenced as one of the most influential artists of his time and his success is described. This review highlights of the works of Salvador Dali and the exhibitions where his artwork was presented. His artwork changed the views on art, as people knew it and turned heads. This is how he became so well known. Also, it explains the importance Salvador Dali to other artists as a pure inspiration.
Analyzing Surrealist Madness Through the Poetry of Salvador Dalí
Rattray, Jacqueline. "Analyzing Surrealist Madness Through the Poetry of Salvador Dalí." Comparative Critical Studies 5.2 (2008), 207-220.
“Surrealist madness” is a main concept of this movement, focusing on the realms of all mental states to open new possibilities of art in the world. The author does not regard this concept as bad, but embraces it because of the inspirational works that were created out of this sense of madness. Like other artists, Salvador Dali possessed his type of madness. This article explains how it effected the Surrealist art movement. This madness was introduced through Dali’s art, especially his poetry. It describes the term of “paranoiac-critical method” and it’s role in Dali’s art in relation to “surrealist madness”.
The link between artistic creativity and psychopathology: Salvador Dalí
Murphy, Caroline. "The link between artistic creativity and psychopathology: Salvador Dalí." Personality and Individual Differences 46.8 (2009), 765-774.
What is the truth behind Salvador Dali’s “madness”? This article explores this concept and tries to rationalize it. However, this author finds this difficult because there’s little insight into the private life of Dali. The only means of this discovery exists in his art, autobiographies, and interviews with those who were close to him throughout his life.
In addition, it attempts to describe the craziness that Dali was famous for and its relationship to his creative works.
Dalí's Inauthenticity
Rothman, Roger. "Dalí's Inauthenticity." Modernism/modernity 14.3 (2007), 489-497.
According to Rothman, Dali's artwork opened the eyes of its viewers and the profound effect on art movements. His works based on his interest in "illusions, copies, and fakes" that are exclusive to his personality. Dali used modern techniques and traditional techniques and methods for his artwork. In addition, the author provides a critique of Dali and his artwork and how it ultimately changed art, as people knew it during this time period.
THE GREAT LATE Salvador Dalí.
Stolz, George. "THE GREAT LATE Salvador Dalí." ARTnews 104.2 (2005): 120-125. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
This article explains Salvador Dali rising reputation as an artist. The world possessed a growing interest in Dali’s work because it was so unlike what was expected during this time period. Throughout the novel, Stolz describes the works of Dali in detail. Also, it also explains his works and his influence on the development of Pop art in the 1960s.
THE SURREAL WORLD OF SALVADOR DALI
Meisler, Stanley. "THE SURREAL WORLD OF SALVADOR DALÍ." Smithsonian 36.1 (2005): 72-80. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
This article deals with the question if Salvador Dali was a "Genius or Madman?" It tries to differentiate between the two concepts. The "Genius" Meisler was referring to, relate to his talent and unique approach as an artist and to the magnificent works he created. In contrast, the "madman" concept directly relates to his unstable mental state that he was well known for. With his mental state, it allowed the world to take interest in the Dali's different outlook on the Surrealist movement.
Dalí (1904-1989): Psychoanalysis and Pictorial Surrealism.
Martínez-Herrera, Ma José, Antonio G. Alcántara, and Lorena García-Fernández. "Dalí (1904-1989): Psychoanalysis and Pictorial Surrealism." American Journal of Psychiatry 160.5 (2003): 855. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
These authors take us through the life of Salvador Dali and the ups and downs he faced, especially in his earlier years. They focus on his life to show its relation to his works. Aspects of Dali's life are used as deeper meanings in his artwork as forms of symbols like "a lion's head, a hook, grasshopper, and shells" plus many more. His artwork was presented in multiple exhibitions all over the world. Overall, the authors have respect for Dali because he was a "revolutionary contribution to surrealism".
Dali's dimensions.
Kemp, Martin. "Dali's dimensions." Nature 391.6662 (1998): 27. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
Many artists attempted to understand Salvador Dali’s use of the fourth dimension, specifically in the ‘Corpus Hypercubus’ exhibition. This search for this new dimension was shared by not only different artists, but other “pioneers of modernism” including Charles Howard Hinton, a mathematician. The author states how Dali used this concept of the fourth dimension flawlessly.
DALI GOES TO REHAB.
Lacayo, Richard. "DALI GOES TO REHAB." Time 165.8 (2005): 59-60. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
In the 1920s and 1930s, Salvador Dali was considered one of the best artists at the time. This works were considered to be “brilliant and durable”. However, this view of Dali changed overtime. This change was described as a decline on the quality and focus of his work because of this wild personality and unstable mental state. In addition, Lacayo showed his impact of the interpretations of Dali’s work in relation to postmodernism.
Dali's Folly
Kachur, Lewis. "Dalí's Folly." Art in America 91.10 (2003): 70. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
This article highlights the exhibitions, especially the Dream of Venus, of Salvador Dali in 1939. This exhibition was Dali’s attempt of a “rediscovery and revival” from his earlier works. The author describes the type of art that was displayed from the “liquid ladies” to the lobsters by using different techniques and materials. He showed how they contributed to the Surrealist movement.
Dali's Paranoia-Criticism or The Exercise of Freedom.
Finkelstein, Haim. "Dali's Paranoia-Criticism or The Exercise of Freedom." Twentieth Century Literature 21.1 (1975): 59. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.
Salvador Dali masterminded the concept of “paranoiac-criticism”. “Paranoiac-criticism” is based on irrational beliefs to make unthinkable art. Finklestein describes the impact and importance of this concept to the Surrealist movement. This concept is an important part of the books written by Salvador Dali and his views on it.
Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations (review)
Tashjian, Dickran,. "Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations (review)." Modernism/modernity 9.1 (2002), 193-194. Ohio Link Database. Web. 1 Nov. 2010.
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.
"New Skin, a New Land!": Dalí's American Metamorphosis
Pine, Julia. "“New Skin, a New Land!”: Dalí’s American Metamorphosis." ESC: English Studies in Canada 34.1 (2009), 37-58.
Pine views Salvador Dali’s autobiography, “The Secret Life”. She gives us insight into his life, which many were unaware of. “The Secret Life” gave the world information about his personal life, so they could begin to understand him better. In addition, it describes his works during Dali’s postsurrealsist, postavant-garde period and how they impacted the Surrealist movement.
Wednesday, November 3, 2010
A Dream Within a Dream
It takes this kisses on the face!
And, in the separation of you maintaining,
thus left to it much me confesses—
You n' do not be erroneous, which judges
That my days were dream;
However if l' did hope was controlled
In one night, or a day,
A vision, or not,
Therefore go more than less?
All which we see or we seem
Are only dream all' ; interior of I dream.
I am laid out in the means of howling
D' an edge still-tormented dell' ;
Receipt outside and o' carry out all' ;
Interior of my grain of the hand of sand dell' ;
However-- How little of! however as they crawl
By my bar with that deep,
While I shout--by considering that I shout!
God or of! Can me do not take
Them with tight with a narrow hook?
God or of! I cannot preserve
A dell' ; cruel vagueness?
It is very that we see or seem
But I dream all' ; interior of do I dream?
And, in the separation of you maintaining,
thus left to it much me confesses—
You n' do not be erroneous, which judges
That my days were dream;
However if l' did hope was controlled
In one night, or a day,
A vision, or not,
Therefore go more than less?
All which we see or we seem
Are only dream all' ; interior of I dream.
I am laid out in the means of howling
D' an edge still-tormented dell' ;
Receipt outside and o' carry out all' ;
Interior of my grain of the hand of sand dell' ;
However-- How little of! however as they crawl
By my bar with that deep,
While I shout--by considering that I shout!
God or of! Can me do not take
Them with tight with a narrow hook?
God or of! I cannot preserve
A dell' ; cruel vagueness?
It is very that we see or seem
But I dream all' ; interior of do I dream?
Monday, November 1, 2010
Social Bookmarking
Tashjian, Dickran,. "Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and
Surrealist Exhibition Installations (review)." Modernism/modernity 9.1
(2002), 193-194. Ohio Link Database. Web. 1 Nov. 2010.
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.
Surrealist Exhibition Installations (review)." Modernism/modernity 9.1
(2002), 193-194. Ohio Link Database. Web. 1 Nov. 2010.
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.
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