Do you think there is a benefit to keeping this monument in the public eye (in the museum)?

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AFTER reading “We Don’t Have to Like Them. We Just Need to Understand Them, ” answer the following questions in 3-5 sentences each. Number each of your answers in accordance to the question. Answer in your own words and use quotes from the article when necessary. Be specific in your answers, avoid vagueness- which can result in partial credit.

1. Author Holland Cotter poses a complex discussion and solution regarding, whether or not, the monuments of our nation’s past and if they should be abolished. What does Cotter suggest the museum do with the sculpture and why?
2. We have seen many statues throughout our survey, even question sculpture similar to the Roosevelt monument. From your understanding, what is the difference between a “statue” and a “monument”?
3. Is there a value in changing the verbiage from “monument” to “statue” for the Roosevelt monument?
4. Do you think there is a benefit to keeping this monument in the public eye (in the museum)? How so? If not, what do you suggest they do with the sculpture and why?
5. Is Cotter’s suggestion applicable to all “historically complicated” or racist monuments of our nation’s past? How so?
6. Look closely at the faces of EACH figure in this sculpture. What do they say to you? How are their expressions representative of past ideals and how is this important to understand when considering the livelihood of this sculpture?

What causes chromosomal abnormalities, and what happens to most embryos with the wrong number of chromosomes?

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Please read the article than answer these 3 questions.
here’s the link to the article.
http://www.apa.org/monitor/apr04/second.aspx

???? What is the possible flaw in the assumption made by twin research that identical and fraternal twins who are raised in the same home have the same environment?
????
Despite the limitations of twin research, how are twin studies useful?
????
Which type of genetic study is expected to add to what we learn from twin studies in
the future?

Understanding Chromosomal Abnormalities
Please review the following link and article at the March of Dimes website, then answer the following 4 questions.

http://www.marchofdimes.com/Baby/birthdefects_chromosomal.html
????
How many children in the United States are born with a chromosomal abnormality?
????
What causes chromosomal abnormalities, and what happens to most embryos with the
wrong number of chromosomes?
????
Do all children with the same chromosomal abnormality have the same
characteristics?
????
If one of your children has a chromosomal abnormality, will all of your other children
have the same condition?

Explain the concept of symbol and symbolism. What is the difference between symbol and sign?

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AH 246/CEES 246 Final Exam

The final exam for this course consists of two parts. The first part deals with your understanding of the period as a whole, while the second part allows you to focus more deeply on a particular work or artist.

 

Essay topics:

Part 1. Choose 2 (two) of the following general questions and answer each of them in the form of an essay supporting your argument with theory and appropriate examples from the legacy of the 20th century “historical” avant-garde (roughly 1900s through 1920s). Each of your essays has to be 400-600 words long, font size 12, double-spaced, Times New Roman. Support each of your claims with ample examples.

  • How does the avant-garde (-s) change the status of art as an institution? Address Peter Burger’s theory of the avant-garde and discuss various ways in which the avant-garde artists move away from the traditional, representational, and illusionistic art.
  • Explain the concept of symbol and symbolism. What is the difference between symbol and sign? What common symbols are shared by Russian and French symbolists? Give examples and identify authors and works of art using these symbols. In which respect do Russian symbolists differ from their French predecessors? Although symbolism and decadence often coexist in one work, what are some criteria by which to distinguish one from the other?
  • How do various avant-garde formations activate, contribute, or problematize existing national, ethnic, and race stereotypes? How do artists reinforce and/or alter traditional orientalist discursive practices?
  • Relate the linguistic experiments done by Italian futurists, Russian “zaumniki” (trans-sense poets), and Dada poets to the Ferdinand de Saussure’s theory of language as a system. What kind of inspiration did the futurists draw from the Cubist painters?
  • Address the idea of organicity and organic architecture in the works of Tatlin, Khlebnikov, Polish and Russian Constructivists, and/or Bauhaus. Some questions to consider: how do Khlebnikov’s futurist cities and Tatlin’s “culture of materials” reflect the idea of the organic? What is the connection between the organic and organization?
  • How does the curriculum of early Bauhaus develop to transform artists into craftsmen? What is the main reason to abolish “easelism” (easel painting)?
  • Discuss various avant-garde attitudes to urban modernity.  Compare and contrast images of the modern city in various avant-garde visual and verbal texts.
  • Discuss the role of Freud’s psychoanalysis in the artistic output of the period, e.g. in French and/or Russian Decadence, German Expressionism, French Surrealism, in the works of Eisenstein, etc. Consider one or two of the following points: what is the main difference between Freud’s and the avant-garde artists’ attitudes toward the unconscious? Explain the main processes involved in “dream work” and show, using a couple of examples, how the principles of dream work are useful in the understanding of a particular work of art.
  • Explain the significance and elaborate on the major points of Viktor Shklovsky’s “Art as Device” (in another translation: Art as a Technique). What is the role of the ultimate goal of art, according to Shklovsky? What means does the artist employ to achieve this goal? Illustrate Shklovsky’s concepts of “estrangement” and “retardation,” and “laying bare of the device,” using a few examples from the course. Reflect on your own perception of a certain work of art in this course.
  • Describe various kinds of photo- and film montage and explain the propagandistic power behind them. Some questions to consider: how do photo montage, photography, and film allow the avant-garde artists to stay away from the representational, academic art, while at the same time serving the state and “the people”? What is factography? What contradictions arise when we apply the criteria of “fact” to the works of Dziga Vertov and Sergei Eisenstein? Why were the “Kinoki” attacked for their “formalism” by Marxist critics? What is “wrong” with helping the proletariat “see things better”?
  • Using a number of art works as case studies, discuss how issues of gender and sexuality inform the production of art across the historical avant-gardes.  You might also want to consider the work of avant-garde women artists.
  • What is the relationship between the avant-garde and social realism, according to Boris Groys? Agree or disagree with his position and provide your reasons for either agreement or disagreement.

 

Part 2. Choose one or two specific works of art belonging to a specific avant-garde movement or genre (e.g., symbolism, expressionism, cubism, dada, etc.) or one or two works by a specific artist (e.g., Malevich, Tatlin, Picasso, etc.) and write a comprehensive analysis, no longer than 1000 words in total, using the theoretical readings provided on the subject as well as your own critical judgment. (Attention: critical judgment is not to be confused with strictly personal, “naïve” opinion you were encouraged to use in the response papers).