Capitalism Is Poor Writing And Too One Sided Essay

Now that the premise as to what these articles convey have been established, a proper analysis surrounding Caccavello’s piece is necessary. Once again, reserving the right to reiterate what the authors mention, free of opinion, only allows for a clearer, more concise argument. Firstly, the main quandary, I feel, that presents itself in Caccavello s work is that it is simply too abstract of a narrative to use as a description for the history of the global free-market. To just construct an entire entry without once including why said scholars might be such critiques of capitalism is poor writing and too one-sided. Not once in this article does Caccavello mention that any reason other than these people s disdain for economic inequality. This is not an adequate reason being most people (if not all logical, free-thinking people) are distraught about the state at which economic inequality exists. Moreover, the title within itself is a complete slap in the face! â€Å"Inequality, Poverty, â€Å"The Free Market† and Capitalism: the story of a wonderful success. How can one willingly classify a system, by which, people who are not offered equal opportunity, a success story? Looking through a lens of complete privilege is detrimental for those who are trying to make an argument that capitalism is something that we should restore so much of our faith in. Lest we forget, the model by which we view capitalism now was built on (and is still survived by) the backs of millions ofShow MoreRelatedErnesto Che Guevara1643 Words   |  7 PagesA. Plan of Investigation Question: Was Ernesto â€Å"Che† Guevara the revolutionary hero as depicted in today’s pop culture, or was he a vicious murderer, obsessed with the destruction of capitalism? 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Hard Work or Luck Free Essays

MARIA HERRADON GARCIA â€Å"When people succeed in life, it is because of hard work. Being lucky has nothing to do with success in life† Everyone will agree that hard work is the main key to every step of success but luck has also some role to achieve those successes. So many people in this world work very hard but still do not meet their dreams and goals. We will write a custom essay sample on Hard Work or Luck or any similar topic only for you Order Now From my everyday experience and observation I can totally disagree with the statement. I think people should have good luck also to lead their hard work towards success. To be lucky in life you must have worked hard for it previously. There are very rare cases in hich people have accomplished their goals because of pure luck. You need to prepare your self. Since we are children we go to the school, to start feeding or minds with the basics. As we grow up we acknowledge more and more information that will be key in our lives, even if we don’t know it. Preparation is essential because in order to develop your ideas you need a background to support them. The important thing is to love what you are working on, because being passionate about your job will help you to rise your career and do greater things. You need to have dreams and goals in life even if they are rather mpossible but it is also good to settle some lower targets in a short period of time will help you to avoid fee ling deceived. Some great examples of hard workers that have received their rewards are Pedro Almodovar and Steve Jobs. Almodovar was born in Ciudad Real, so knowing the possibilities that Madrid could offer him he moved to the capital at the tender age of sixteen years old, all alone, without his family. He worked very hard to make his way into the movie industry and his talent wasn’t given an award until the release of â€Å"Mujeres al borde de un ataque de nervios†, eleven movies later, when he got his irst Goya. At the age of 50 he finally won an Academy Award, achieving the dream of any moviemaker. The case of Steve Jobs is the example that even when you have been defeated you must carry on and keep trying. When he was expelled from the company that he himself founded, Apple, he started a new company neXT that become so successful that Apple decided to buy it, so in the end he returned to his first company and as CEO he raised Apple to a worldwide level not known before. Those were examples of people that worked hard all their lives to be in their position, but there are other occasions in which people success ust because of their luck. To be one of those people, you have to be on the right place at the right time. You never know when the luck might come to you so you need to be always ready, because these lucky strikes are not very usual and sometimes you may not even realise that it was a great opportunity until you have lost your chance. Stay positive, think that you will have your opportunity. You have to be surrounded by the right people, and no body likes that pessimist that are always grumbling about their bad luck and how unfair life is. Most of the times the attitude is more important than the aptitude. How to cite Hard Work or Luck, Papers

Poul Voulkos Ceramist Essay Example For Students

Poul Voulkos Ceramist Essay The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but its amazement of a different order the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, its never certain. Uncertainty feels actively courted in Voulkos vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.These days, L.A. is recognized as a center f or the production of contemporary art. But in the 1950s, the scene was slim few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos. In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the Clay Revolution. Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations. By the late 1950s, Voulkos had established an international reputation for his muscular fired-clay sculptures, which melded Zen attitudes toward chance with the emotional fervor of Abstract Expressionist pai nting. Some 20 works including five Stacks (4-foot-tall sculptures) as well as giant slashed-and-gouged plates and works on paper recently went on view at the Frank Lloyd Gallery. This non single show is his first at a Los Angeles gallery in 13 years, although a survey of his work was seen at the Newport Harbor Art Museum (presently carries a different name) in 1995. Voulkos, 75, has lived in Oakland since 1959, having left after a fallout with the then-director of the Art Institute, Millard Sheets, who is best known for mosaic murals on local bank facades. Although Voulkos has been absent from L.A. for 40 years, he remains something of an icon for artists here. Price, known for his candy-colored ovoid clay sculptures, puts it simply: In one way or another, he influenced everyone who makes art out of clay, since he was the main force in liberating the material. He broke down all the rules form follows function, truth in materials because he wanted to make art that had something to do with his own time and place. He had virtuoso technique, so he was able to do it fairly directly, and he worked in a really forceful way. In the opinion of many artists he is the most important person in clay of the 20th century, not for what he did himself, but for the ground that he broke. In his interview with US art critics Voulkos said: I never intended on being revolutionary, there was a certain energy around L.A. at that time, and I liked the whole milieu. Wielding clay is magic, he says. The minute you touch it, it moves, so youve got to move with it. Its like a ritual. I always work standing up, so I can move my body around. I dont sit and make dainty little things. As a child, Voulkos did not imagine a future as an internationally influential artist. The third of five children born to Greek immigrant parents in Bozeman, Mont., he could not afford a college education and anticipated a career constructing floor molds for engine castings at a foundry in Portland, Ore., w here he went to work in 1942, after high school. But in 1943, he was drafted into the U.S. Army Air Corps and was stationed in the central Pacific as an airplane armorer and gunner. After the war, the G.I. Bill offered him a college education, so he studied painting at Montana State College, now Montana State University, and took ceramics courses during his junior year, graduating in 1951. Voulkos had a natural aptitude for clay and soon was winning awards, including top honors at the 1950 National Ceramic Exhibition at the Syracuse Museum of Fine Arts, in New York. Encouraged, he chose ceramics as a course of study in graduate school at the California College of Arts and Crafts in Oakland, from which he graduated with a masters degree in 1952. Around the same time, he married Margaret Cone and had a daughter, Pier. His work also was gaining attention, and he was invited to teach at the experimental Black Mountain College in Asheville, N.C., in 1953. Once again, timing was in his fa vor, as other artists on hand included John Cage, Merce Cunningham and David Tudor, with whom he later stayed in New York, where he met Abstract Expressionist painters Franz Kline, Jack Tworkov, Philip Guston and Robert Rauschenberg. That fall, he returned to Helena, and was resigned to selling his ceramics to make a living until the fateful call came from Sheets. I was just a hick from Montana, so coming to L.A was a big thing for me, Voulkos remembers. When I got that job, it was my big break. I didnt have to do dinner plates anymore. I got paid for teaching and didnt have to worry about selling. Being able to teach helped expand my vocabulary. I learned from my students. Ceramics in those days was quite boring, he says. Scandinavian design. I fell for them for a while, but it was short-lived. It didnt move fast enough for me. But soon Voulkos gained a supporter, sculptor David Smith, known for his balanced cubes of steel . Voulkos shared a studio on Glendale Boulevard with his fo rmer student John Mason (his neighbor was architect Richard Neutra), and in the evenings, he and his students, who were also his friends, would listen to jazz at the Tiffany Club. L.A. Conceptual artist John Baldessari recalls that Voulkos, who at that time was painting in an Abstract Expressionist style as well as building massive abstract clay sculptures, seemed the very embodiment of the advanced New York art world. Baldessari, who was studying painting, remembers, I soon discovered that he was more of an inspiration and a goad than any of my painting instructors, who were relatively academic. He psychically gave me permission, because the teachers I had always seemed delimiting. Just before Christmas 1958, Voulkos opened a solo show at the Pasadena Art Museum (now the Norton Simon Museum). Soon after, he was fired from L.A. County Art Institute and hired by UC Berkeley, where his students included Ron Nagle, James Melchert and Ann Adair, who later became his second wife and by w hom he has a son, Aris. Voulkos career continued to escalate with a 1960 show at the Museum of Modern Art in New York, favorably reviewed by Dore Ashton in the New York Times. Yearning to work on a larger scale than is possible in clay, he began producing monumental bronze sculptures for corporate clients, such as an 18-foot-tall sculpture in the lobby of the San Francisco office of Tishman Realty. Despite this two-decade foray into bronze, Voulkos remained committed to pushing the boundaries of possibility in ceramics. From 1979 to 1984, he concentrated on firing plates and then the vessel-shaped stacks in an anagama, a Japanese wood-burning kiln. Inspired by the Haniwa figures and Momoyama period ceramics of Japan, Voulkos let the ash and soot from the firing process in the kiln decorate the irregular surface of the clay. There was a certain kind of casualness about some of the Japanese ceramics that I liked. There can be a big crack in the pot caused by the kiln, and the piece be comes a national treasure, he says. The 1980s brought about a serious personal challenge, however. By mid-decade, he was forced to confront his addiction to cocaine and enter a rehabilitation facility. In 1989, he returned to his ceramic sculpture with a sense of renewed purpose and a more incisive and controlled sense of composition. During the 90s, he has regained the confidence in the process. Although retired from UC Berkeley, Voulkos still thrives as a teacher, spending about four months of each year on the road doing seminars. Bibliography:Levin, Elaine, Peter Voulkos: A Ceramics Monthly Portfolio, Ceramics Monthly, June, 1978, pp. 60-68, ill.Albright, Thomas, Art in the San Francisco Bay Area, 1945-1980, University of California Press, Berkeley, 1985, ill.Baker, Kenneth, Strong New Work by Voulkos, San Francisco Chronicle, March 2, 1991, p. C5, ill.Baker, Kenneth, Voulkos Elevates Ceramics to Art, San Francisco Examiner Chronicle, Datebook, July 30, 1995, pp. 35, 39, ill.Kusp it, Donald, The Trouble With The Body: Peter Voulkoss Stacks, American Ceramics, 12/2, 1996, pp. 14-21, ill., cover ill. .u1309bb04a602fea23aff0d750213bc59 , .u1309bb04a602fea23aff0d750213bc59 .postImageUrl , .u1309bb04a602fea23aff0d750213bc59 .centered-text-area { min-height: 80px; position: relative; } .u1309bb04a602fea23aff0d750213bc59 , .u1309bb04a602fea23aff0d750213bc59:hover , .u1309bb04a602fea23aff0d750213bc59:visited , .u1309bb04a602fea23aff0d750213bc59:active { border:0!important; } .u1309bb04a602fea23aff0d750213bc59 .clearfix:after { content: ""; display: table; clear: both; } .u1309bb04a602fea23aff0d750213bc59 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1309bb04a602fea23aff0d750213bc59:active , .u1309bb04a602fea23aff0d750213bc59:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1309bb04a602fea23aff0d750213bc59 .centered-text-area { width: 100%; position: relative ; } .u1309bb04a602fea23aff0d750213bc59 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1309bb04a602fea23aff0d750213bc59 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1309bb04a602fea23aff0d750213bc59 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1309bb04a602fea23aff0d750213bc59:hover .ctaButton { background-color: #34495E!important; } .u1309bb04a602fea23aff0d750213bc59 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1309bb04a602fea23aff0d750213bc59 .u1309bb04a602fea23aff0d750213bc59-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1309bb04a602fea23aff0d750213bc59:after { content: ""; display: block; clear: both; } READ: Samantha Srinivasan Essay

Racism in Society

Racism is a relatively new term, invented in the modern age when man discovered science. Using his abilities to understand the natural world he began to make theories, and one of the ideas that he created is the concept of race. There are groups of men and women who were created to rule the world – they are the masters while others are the slaves. Advertising We will write a custom essay sample on Racism in Society specifically for you for only $16.05 $11/page Learn More Races were differentiated by physical characteristics and the negative implication of the analysis of physical characteristics led to prejudice, abhorrence, and even hatred towards another human being. Understanding the concept of racism can be achieved by looking at standard definition as well as using analogies such as the way that a biologist can classify different types of animals and the way a an art collector discriminates between different works of art. Before going any fur ther it is imperative to look into a scholarly definition of the term racism. There will be two academic sources that will be consulted for this study. The first one comes from Webster’s II New College Dictionary and from Encyclopedia Britannica online. From the college dictionary here is the first definition of the word racism: â€Å"The notion that one’s own ethnic stock is superior† (Webster, p.912). A more lengthy definition comes from the encyclopedia and it says that it is also known as racialism and adds the following: any action, practice, or belief that reflects the racial worldview – the ideology that humans are divided into separate and exclusive biological entities called ‘races’, that there is a causal link between inherited physical traits and traits of personality, intellect, morality, and other cultural behavioral features, and that some races are innately superior to others (Smedley, p.1). Based on these definitions one can surmise that racism is a mindset, a belief system governed by the idea that humans were not created equal and can never be treated equal. There are groups of people that must be considered superior to others and therefore there are those that must be treated as inferior. This is based on the ideology that â€Å"humans are divided into separate and exclusive biological entities called races† and thus human beings can be classified in the same way that a biologist can classify different types of animals. And an art collector discriminates between different works of art.Advertising Looking for essay on ethnicity studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More It must also be highlighted that this classification of human beings can only be made possible if the basis for classification is the difference between physical characteristics. The most common method is to look at the color of the person’s skin as well as differenc es in facial features. But this is not only limited on what can be seen in the external features of the person, racism is also a product of observing the behavioral tendencies of a group of people such as their religious and dietary practices. By looking at the physical characteristics and the religious as well as cultural differences one can easily ascertain that others are not like them. In ancient times there used to be a derogatory term that a rich and powerful civilization used to describe others and they call those who cannot attain their level of sophistication as barbaric and they call citizens of neighboring countries whom they consider inferior to them as barbarians. As a result, â€Å"In North and apartheid South Africa, racism dictated that different ‘races’ should be segregated from one another, that they should have their own distinct communities and develop their own institution such as churches, schools, and hospitals, and that it was unnatural for memb ers of two ‘separate races’ to intermarry† (Smedley, p.1) This gave rise to the aforementioned definition of race that others believe in the innate superiority of their race and that they try to impose this worldview on others. This can be best understood in the way that a biologist looks at the natural world. A biologist will classify animals and plants based on their physical characteristics for instance a mammal is different from an insect; a grass is different from a tree. This is because of clear differentiations based on external features. It is not difficult to spot the major differences that exist between a tiger and a whale and an oak tree and a dragonfly. This is the reason why there used to be apartheid in South Africa and segregation in the United States. A classification scheme was developed not to judge animals but humans. The classification scheme was not created to identify and appreciate the differences but to create separation. Aside from a crud e analysis of the physical features there is no clear basis for pigeonholing or stereotyping human beings into different classes or sub-species. However, it is clear why this system was perpetuated. It is to create order and understanding in the same way that a biologist tries to understand the complexity of the natural world. Another way to look at racism is to look into the activities of the art collector and how he creates a standard in order to judge which artwork is much more valuable than others. This time around the basis for comparison is subjective. Advertising We will write a custom essay sample on Racism in Society specifically for you for only $16.05 $11/page Learn More There are no clear rules because what a collector will consider a worthless piece of creation can be valued highly by others. In other words no one can judge and no one should judge that a group of individuals is of greater importance to other groups. This should not be the c ase but the history of mankind proves otherwise. The methodology used by an art collector is necessary to understand the worth of a artwork and as a result collectors can trade or sell what they own. If a system does not exist then art collection may never have taken off and no one would spend their time searching, examining, and storing art works. This was done to justify their actions. In the same manner, racism and the profiling of tribes, clans, and groups of people into â€Å"races† was done to justify the use of slaves and the use of humans as tools. In the past slavery was a part of American society. This was made possible by the belief that the white race is superior to the Negro race and therefore those with black skin must serve the white man and the white man must no feel a tinge of guilt that they are treating their fellow human beings as if they were beasts of burden. This has created innumerable injustices, not to mention the deaths of many who tried to argue th at there is no such thing as race. One of the most ironic settings of this debate occurred in the United States when founding fathers who led the people into a successful revolution against tyranny wrote the U.S. Constitution and it says there that all men were created equal. This is the reason why they revolted against those who tried to control them and yet after the war for American independence Negro slaves were still oppressed and working the farms without wages, rights, and freedom. Conclusion Racism is the classification of human beings into groups and therefore it creates a belief system that there are those who are superior to others and those who are inferior can be treated with less respect and force to serve others. This is what happened to former Negro slaves who felt the bitter effects of segregation. The same thing can be said of the black men and women of South Africa who had to contend with the fact that the white man had created systems and institutions to perpet uate this belief and to maintain the status quo that blacks are inferior to the whites.Advertising Looking for essay on ethnicity studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More Works Cited â€Å"Racism.† Def. Webster’s II New College Dictionary. 2001, print. Smedley, Audrey. â€Å"Racism.† Encyclopaedia Britannica. Web. This essay on Racism in Society was written and submitted by user Aryanna Osborn to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.