'Evaluating the Arts Essay\r'

'The 2 human races of dodge I halt chosen to write about atomic number 18 both per figure of speechance art pieces by Trisha cook. dark-brown is a postmodern performance workman whose work is shown throughout the United States, although mostly in small, liberal arts colleges, such(prenominal) as Mills College in California. solely of her works are considered to be super experimental, as closely as extremely contemporary and postmodern. The first work is gentleman base on balls Down the lieu of a Building. However, the actual fluid shot is called Walking on the Wall, and for our purposes, this is what will be studied. The til now frame involves pentad bodies, all literally suspended, walking on a wall.\r\nThe five professional dancers are in no occurrence order. They are simply walking, in order, at any pace, down the wall. This 1971 piece was knowing to be performed at a set outicularized site, with the dancers suspended in harnesses, moving along the wall. The wonder of this piece of art is that in that location is absolutely no metaphorical meaning. Now, that is not to say that there is no deeper meaning. in that respect certainly is. But the piece is viewed by creative persons as completely unconventional, because this piece was earlier a dance of sorts. However, there are no standard five positions of the feet, as seen in conventional, classical ballet.\r\nThere was no music, no stage set, nothing. It was simply movement, and gravity. Brown was trying to have the audience get word that art does not need to have some sort of deeper meaning in order to be valuable; that’s already been done. The most intriguing part about this piece of art is the modify that were used. As it is all in black, whites, and grays, those dark glasses become the center of the piece, as well as the shadows. Because the shadows point in divergent directions, it is difficult for the eye to simply strain on one section. In addition, this piece w as made in the late 1970’s.\r\nOf course, it was extremely controversial, as the form of dance that was en vogue at the time were Balanchine’s classical ballerinas, who of course performed classical and classic works. This was meant to be a rebellion of that form of work. The second piece of artwork I have chosen is a still of Brown’s Roof chip (1973. ) Much like Walking on the Wall, this piece was created as a postmodern response to art. In Roof Piece, the dancers were on twelve different rooftops over a ten-block area throughout New York City. to each one dancer would transmit movements to a dancer on the nearest roof.\r\nTherefore, this was actually an improvisational piece. In addition, Brown’s artistic emotional state was to create a piece of art that had no metaphorical or symbolic meaning. In the still frame of this piece, it is belatedly to see the fluid, yet in like manner geometrical design of the dancers. Of course, this still frame is a lso in black and white. However, what is particularly enkindle about this piece is the way in which the background of New York City is blurry, age the dancer is in perfect focus. The artist obviously intended for the dancer to be the only one in the spotlight.\r\nWith the engross connotations of the City, it is quite refreshing to see the dancer juxtaposed against the city. In addition, it is almost as if the dancer has been suspended in time, as if the dancer stopped moving so the photographer could find a wide shot.\r\nWorks Cited\r\nâ€Å"Roof Piece: Brown. ” Ncf. Carleton. 20 Aug. 2007 <http://web. ncf. ca/ek867/roofpiecebrown. jpg>. â€Å"Trisha Brown Dance participation: Man Walking Down the Side of a Building. ” Tate Online. Tate Online. 20 Aug. 2007 <http://www. tate. org. uk/modern/eventseducation/musicperform/trishabrowndancecompanymanwalkingdownthesideofabuilding5671. htm>.\r\n'