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Brutus in Shakespeare's Julius Caesar. In Shakespeare's Julius Caesar, Brutus emerges as an intricate character as well as the custompapers.com, play's catastrophic hero. Researched Papers! Through his soliloquies, one gains an insight into the complexities of his characters. He is an influential public figure as well as a loving husband, a distinguished military leader, a master to custompapers.com his servants, and a friend (Shakespeare 12). His conflicting values battle with each other in his mind. Various questions are raised after he assassinates Caesar. One such question happens to be based on the light of his friendship with Caesar and whether the assassination is a noble act of selflessness or a callous evil act. Case Study Of A Problems! One also wonders whether the custompapers.com, act has happened as a result of foul indifference to the ties of what are the friendship and failure to be moved by custompapers.com Caesar's power. - 2011-bcc! As a director, these are some of the qualities I would look for in a character playing the custompapers.com, role of Brutus. Good Irish Phrases! The character acting this role ought to be idealistic. Custompapers.com Bbb! In the play, Brutus's unyielding idealism happens to of a with problems be his greatest virtue, as well as his deadly flaw.

Brutus could be viewed as a noble Roman citizen whose self ambitions do not dominate other motivations (Shakespeare 14). Despite the fact that Caesar happens to be a very close to him, Brutus chooses Rome over friendship. As a director, I would hold auditions to help me determine the most appropriate person to play Brutus' character. One who plays this character should be strong willed, which also applies to other characters as well. Bbb! Brutus seems to have naive idealism as shown in several instances. His commitment to the course leads to various miscalculations. In an - 2011-bcc effort to curtail violence, he ignores the advice given by Cassius to custompapers.com allow the conspirators to what of the essay kill Antony (Shakespeare 65). He disregards Cassius once more by allowing him to speak at Caesar's funeral. This results in Brutus' forfeiting the authority of having the last word on the assassination.

Consequently, this allows Antony to incite the people to riot against Anthony and his conspirators. The character of Brutus should also appear confused. This would go in line with the part of Brutus who seems to custompapers.com be torn between his love for Rome and his love for Caesar. He admits to having been at war with himself to Cassius. His confusion allows Cassius to sway him and encourage him to join in the assassination scheme against Caesar (Shakespeare 18). He falls into Cassius' trap without realizing that Cassius was acting out of jealousy.

Being a trusting man, Brutus believes that Cassius and his conspirators both share his noble motives. Cassius uses Brutus confusion to coerce him to - 2011-bcc join Caesar's assassination. He feels that Brutus involvement would make the people respect his noble character thus accept the death more easily. Therefore, the character taking on Brutus's role should appear confused and unsure of custompapers.com advises given to him. This would aid in enacting this character as both noble and at war with his inner self. Brutus could also be referred to as a stoic character. Despite Cassius' efforts at persuading Brutus to join his cause, Brutus is already thinking of killing Caesar. This could be clearly brought out by the time when Brutus happens to be the first to state that Caesar should be killed (Shakespeare 23). He believes that once Caesar accepts the crown offered by researched Antony, he would become harsh and stingy. He believes that only his death would save him from bbb such danger and agony. This character happens to be portrayed during his wife's death.

Although they seem to be close, Brutus does not weep over her death. As a director, this would be an important aspect when selecting a character to play Brutus's role. The character should appear to be stoic and callous. - 2011-bcc! This would let the character to have a different view of all the circumstances that happen around his life. The character should also be an custompapers.com optimist. With Problems! This could be passed on the character depicted by Brutus who happens to custompapers.com be an optimistic person. Residency! He only sees the good in others thus underestimating the threat that others pose. He underestimates the dangers that Antony poses to their plans in assassinating Caesar (Shakespeare 34). His optimistic character leaves him open to deception and manipulation by those around him.

He goes against Cassius warning that Antony would sway the people against the conspirators if he is involved in custompapers.com, their scheme. Brutus disagrees on the plan to kill Anthony by stating that he did not wish to be viewed as a butcher. After the assassination, Brutus thinks that he could use logical words in persuading Anthony to join in their cause. Although he pretends to of a child behavioral problems be, Antony is not persuaded and bbb turns against residency creative, them during Caesar's funeral. This later causes him a lot of problems that eventually leads to his suicide. This is the most important character while making a film on Shakespeare's Julius Caesar. It would allow the viewers to custompapers.com bbb understand the reasons toward the are the parts of the, tragic death of custompapers.com Brutus, who happens to be noble to the cause that would save the entire Roman Empire.

The actor playing this role should appear optimistic and easily manipulated. This would make his other actions easy to be performed as Brutus. Brutus could also be considered as heroic. In the play, his noble actions and thoughts eventually resulted in his death. He decides to end his death rather than face the humiliation of being taken as a prisoner by Antony (Shakespeare 72). His death could be scrutinized as a form of self sacrifice, which Brutus recognizes with a lot of serenity.

This noble act endears him to the viewers who become aware of his noble intentions. Even his enemy, Antony, states this as he stands over what are the of the essay, his lifeless body. Such a role should be given to a character that would leave a lot of custompapers.com questions to the audience. As a director, I would direct the actors to play these noble performances with a lot of serenity and selflessness. At the end of the play, the researched papers, characters would leave the audience with a lot of questions such as whether Brutus is indeed an honorable man or just a murderer cruel enough to kill his best friend.

Despite his good intentions, a lot of problems arise due to his participation in a bloody execution. Bbb! This would give the audience the opportunity to make their own decisions on Brutus as a character in the play.

Language Teaching Methods: An Overview. What is the best teaching method for bbb, learning English? According to academic research, linguists have demonstrated that there is not one single best method for everyone in - 2011-bcc, all contexts, and that no one teaching method is inherently superior to the others. Also, it is not always possible – or appropriate – to apply the same methodology to all learners, who have different objectives, environments and learning needs. Applying the custompapers.com bbb, most appropriate method for that learner’s specific objectives, learning style and context. An experienced professional language teacher always adopts the study with behavioral, Principled Eclecticism approach, deciding on the most suitable techniques and applying the most appropriate methodology for that learner’s specific objectives, learning style and context.

Methods of teaching English have developed rapidly, especially in the previous 40 years. As a language learner, training manager, or teacher, it is important to bbb, understand the various methods and good phrases, techniques so that you are able to custompapers.com, navigate the market, make educated choices, and boost your enjoyment of learning a language. Each teaching method is based on a particular vision of understanding the language or the learning process, often using specific techniques and materials used in a set sequence. The main methodologies are listed below in the chronological order of residency creative their development: Grammar Translation – the classical method Direct Method – discovering the importance of speaking Audio-lingualism – the custompapers.com, first modern methodology Humanistic Approaches – a range of holistic methods applied to language learning Communicative Language Teaching – the modern standard method Principled Eclecticism – fitting the good phrases for essays, method to the learner, not the custompapers.com bbb, learner to the method. Each method has a different focus or priority, so let’s look at what this means in practical terms in the classroom. The more common methods have a link to a separate page with more details and an explanation of how they work, including the most common method currently used – Communicative Language Teaching: Based on Techniques and Principles in Language Teaching (Oxford University Press) As mentioned above, the modern language teacher doesn’t follow one rigid method, but applies the Principled Eclecticism approach – fitting the method to study of a, the learner, not vice versa.

This means choosing the custompapers.com bbb, techniques and activities that are appropriate for each particular task, context and learner, with a focus on motivation and helping learners become independent and inspired to learn more. The explanation of Principled Eclecticism also includes a useful ten-point guide for teachers and language students on the best teaching and mfa low residency writing, learning techniques. which method is easy to teach for custompapers.com, a new teacher? I wouldn’t approach this based on which method is the easiest, but rather which one is best for our students. The Principled Eclecticism approach mentioned above is actually the critique, most difficult, as the teacher needs to have a good understanding of bbb all the various methodologies, their pros and cons, and how and when to good phrases for essays, apply each technique.

The table above is a good start, however, and I’d recommend clicking through to read more about each method. Thanks for your answer, I don’t know why you say that audio-lingualism is the “first modern methodology” ? I am confused by the terms – ‘methodology’ and ‘approach’. Don’t they have the custompapers.com, same meaning? Could u explain the difference? There is a difference between the study of a with, 2 terms, though I admit the article doesn’t always use them well or clearly. There can be many methods under the umbrella of an custompapers.com bbb, approach. An approach is an idea or a concept, whereas a method is the procedures to turn that idea into reality in the classroom. A good example is the humanistic approach, an idea, which gave rise to various methods (4 of the most common are listed above). I hope that’s clearer. “According to academic research, linguists have demonstrated that there is not one single best method for everyone in all contexts.”

In other words, data has shown that it’s random. There is no superior method. Then what’s the point of the Principled Eclecticism method if it only tells us to researched papers, use a method we thing might work best. I bet that research into the effectiveness of Principled Eclecticism is bound to show no correlation with improved learning too. The newer approaches and methods have tried to custompapers.com, accommodate learning styles and personalities, but the good irish phrases, amount of bbb time or exposure to productive and receptive skills of a language will always be varied for each learner. From my experience, the amount of time learners have seems to be the only true factor in language acquisition. We already know through research that it takes 8-9 years of English studies for students to become academic proficient.

The difference between a native language speaker and second language learner is time. The difference between an elementary and a pre-intermediate learner is the dissertations, amount of custompapers.com bbb quality time spent on learning English. To give some perspective, given enough time, or an infinite amount of critique time, a monkey that is bbb, randomly typing on a typewrite will write all of Shakespeare’s 38 plays and 154 sonnets, word for word! “Not one single best method for - 2011-bcc, everyone” is custompapers.com, not the same as “it’s random” – it means that we can’t use the same method for everyone and expect excellent results. Instead, we need to personalise how we teach based on the student’s stage of life, objectives, motivation and aptitude for languages, their native language, personality – and yes – how much time they’ve spent learning English. Because ‘time studying’ is easier to quantify than aptitude or personality doesn’t mean that it’s the only factor, though I agree that the quality and frequency of time spent studying is incredibly important. Principled Eclecticism isn’t included in the table of methods above – this is because it’s an - 2011-bcc, approach rather than a method (something I’ve talked about more in another comment here). It takes pieces and techniques from the various methods, which are then applied based on the teacher’s judgement. For example, young learners normally learn best with the Total Physical Response method; in my experience absolute beginners who need survival English and can’t do an intensive course benefit most from the Audio-Lingual method mixed with a Lexical approach, but only custompapers.com bbb until they reach an A2 level; for extrovert personalities we borrow many of the techniques from the Communicative method, etc..

This Principled Eclecticism approach does have disadvantages of papers course, mostly because it’s not ‘standardised’ and relies on each teacher’s judgement and their evaluation of each student. And that’s before we consider large groups of students with different needs. However, being difficult doesn’t mean that we shouldn’t do it – after all, we owe it to our students. ‘it means that we can’t use the same method for custompapers.com bbb, everyone and expect excellent results.” – I hope that this has long been the mfa low residency writing, case, which aided the development of new or alternative approaches and methods. It has long been understood in custompapers.com bbb, academia that teachers should carter to learner styles, especially is our modern fast-paste societies with students that have short attention spans. Every communicative method course that I have studied instruct ESL teachers to phrases, adopt their learner styles and ages. Therefore, after learning that studies have shown that there is no difference in bbb, increase learning in what are the essay, comparing older methods to newer ones is custompapers.com, quiet surprising. I’m not entirely sure I’ve understood your comment, but that newer methods are necessarily more effective than older methods is still not the exact meaning of that quote. Unfortunately catering to the individual and adapting teaching style accordingly is, sadly, a relatively new concept – just think of the many ‘method’ schools with a one-size-fits-all approach.

Everyone is looking for the best method to case study of a child with behavioral problems, learn English, and the simple answer is that there is no simple answer. At least not one that is universal and bbb, applicable to everyone. Good Phrases? This is the core message of this article. Personalised learning – or should I say teaching – is custompapers.com bbb, easier said than done. As a secondary school teacher I have around 30 students in one class, teaching around 240 students in total. Discovering their level and learning preferences for the 4 language skills – reading, listening, speaking and writing – is papers, difficult enough in itself. But where do I find materials that cater for custompapers.com, these different levels for critique, the different skills, let alone materials that also cater for different learning preferences? Most publishers’ classroom books I know don’t come close. You’ve brought up a good point. My world is corporate training, so we’re lucky to custompapers.com, have small group or individual courses where we can personalise learning more easily.

However, it’s also possible to do the same with large groups and in critique dissertations, the state school system. Custompapers.com? I think it’s an - 2011-bcc, anachronism and a mistake to consider a book as a starting point, as they are inherently generic and custompapers.com bbb, one-size-fits-all by necessity. Instead we should be looking to technology to help us – not just to evaluate hundreds or thousands of students without drowning in marking or paper, but also to deliver the right exercise at the right level to the right student at the right time. It has become a bit of a buzzword, but this is the promise of adaptive learning software, and I’ve seen it work well. I’m a big fan of Knewton, which is one of the - 2011-bcc, companies that have made this a reality and custompapers.com bbb, raised awareness of adaptive learning, and I’m seeing some of the traditional publishers coming out with their own software and systems.

Even if your budget doesn’t stretch quite that far, I’d recommend looking into the flipped classroom movement. There are a lot of techniques to draw on and materials you can use, such as the Khan Academy. could you give me a spesific example of suggestopedia method in teaching english? There’s more information on Suggestopedia in the second part of this page: http://blog.tjtaylor.net/method-humanistic/ though it has since morphed into a larger movement that’s wider than language learning. Dear Alex, I am writint a paper about mfa low residency creative writing, english teaching methogs, trying to find free book online which I can use as a base, but no luck, could you please recommend me where to look and what to search for? I need to have the base from custompapers.com, books, than I can cite some internet pages. Thank you, Klara Czech Republic. The book cited as the source for the summary above is very good, ‘Techniques and Principles in irish, Language Teaching’ by custompapers.com, Larsen-Freeman and Anderson. There’s also ‘How Languages are Learned’ by Lightbown and Spada which I can recommend, but my favourite is ‘Approaches and Methods in Language Teaching’ by researched, Richards and Rogers.

I don’t know of bbb any free books, but some of the ones above might be available as ebooks or with free extracts, it’s worth checking. I hope that helps! Great! Thank you. thank you, this is really helping. I have read the researched, article “Language Teaching Methods: An Overview” by TJ Taylor. Learning language is not easy process. This process demands so much energy, patience and challenge.

That’s I agree with you. We have a lot of types of Language Teaching Methods. Bbb? But I think we should use very interesting, useful and easily. I like Direct method. Because we speak in foreing landuage everyday. Dissertations? It helps us to speak free in custompapers.com bbb, another language. I will produce my own r methods of teaching in my future job.

Firstly, I will try to understand my students ( What they want?). In additionally, I want to say from my experiences we should improve our knowledge. In conclusion, thanks for your information. It’s a very good notice Mr. Taylor, Would you please give me an advice, whichone is the most suitable method and of the essay, technique for teaching Grammar ? Most teachers use too much Grammar translation method during teaching English what are effects toward to the learners? Indeed, it’s surprisingly common, especially in the state school system. There are more details on this page if you’re interested: http://blog.tjtaylor.net/method-direct-grammar/ Mr Alex thank you too i have got the answer from your replay. Also would like to custompapers.com, be assisted on study child with, this so that i can get enogh materials on this title: THE PERCEPTIONS ABOUT THE USE ENGLISH AS A MEDIUM INSTRUCTION IN SECONDARY SCHOOLS IN TANZANIA.

Hello Mr. Taylor, Could you tell me or give me some references about those academic research, linguists have demonstrated that there is not one single best method? It is very helpful for me. I will really appreciate it! Hello. Hope I can get some help.

I’m doing an bbb, Assignment on what two methods are best used in teaching english. I’ve choosen Direct Method and Audio-Lingual method…Reason for irish, that is because both doesn’t encourage the use of Native Language in their classroom and custompapers.com, both somewhat uses “habit formation” so that the Target Language seems natural to the students. But I don’t get the grammar aspect of these two methods…do they teach grammar in are the, these two methods?? How do they teach grammar in these two methods?? Hi Kelly – both of these methods handle grammar in a somewhat similar way. Custompapers.com Bbb? They rely on teaching grammar inductively, with no explicit grammar explanation. The Direct method was partly a backlash to the Grammar Translation method, and was more focussed on vocabulary than the Audio-Lingual method.

It relied on students figuring out the underlying grammar from the what parts essay, presentation of lots of examples. The Audio-Lingual was about teaching the basic grammar structures through patterns and habit forming drills, and custompapers.com, less on vocabulary. It used various examples of the case of a with behavioral problems, grammar to custompapers.com bbb, learn, and hoped that the student came to understand the mfa low creative writing, form implicitly. However, I’ve also seen in the past a less pure form of this method include an explicit explanation of the grammar in the students’ native language. All methods of teaching English, discussed in the review, have a common feature – they teach English skills such as reading, listening, speaking, grammar, writing, and pronunciation separately. That is custompapers.com, why all conventional methods could be classified as Passive Learning. According to - 2011-bcc, the Learning Pyramid, we remember about custompapers.com, 10% of what we read and only about 20% of what we hear. Another common feature of the conventional methods – they can’t teach learners to think in English. Critique? It is a bold claim, but I think it is one that I can justify during the demonstration of new method called Active Learning of English skills.

To speak fluent English learners need to create the English mind, i.e. Custompapers.com Bbb? ability to think in English. In Passive Learning students continue to think in their native language, and then try to translate it into English: it is a stressful and what of the, a very slow process that explains low success rate of all described in the review methods. Active Learning of English skills is in sharp contrast with the Passive Learning English as information to be remembered. Active Learning is bbb, subconscious training and is faster than conscious learning. It is protected by study, three patents: one issued and two pending – in the USA and in China. Bbb? In Active Learning the learner trains all English skills simultaneously: reading, speaking, writing, grammar, and pronunciation while re-experiencing familiar situations in English.

All situations are familiar since support in mother tongue is mfa low creative, a part of the mobile application. Each learner speaks 80% of the time, using mobile devices with earphones and understandable input, irrespective of the custompapers.com, number of students in the class. I think a true teacher is unable to have all those teaching approaches in researched, mind all the time when teaching. He would rather use his innate abilitied in stead. no i disagree to u because a true teacher is able to have as a good teacher is a teacher of himself first and then a teacher of his students if he will have command on all or somewhat on a few approaches he can and custompapers.com bbb, he will surely impliment them in class for what are the parts, better teaching and custompapers.com, learning of good irish phrases students. I appreciate your wanting to help others in your area, but I’m afraid we don’t do any training in custompapers.com bbb, person in Asia. However, our intensive English courses in Ireland and the UK are open to professionals and companies based in good irish phrases, Asia, including Pakistan – we’ve had quite a few learners come from China, Japan, India and bbb, Korea. Thank you for case child, these Mr. Custompapers.com? Taylor.

Finding it very helpful for my ESL Approaches and Students’ Linguistic Proficiency research. Residency Writing? Hopeful that you could also do an article on the most prevalent ESL Approaches. =D. is the terms “method” and “methodology” mean the same ? Allwright and Bailey said that in order to help our learners learn, it is not the latest method that we need but rather a fuller understanding of the language classroom and what goes on custompapers.com, here. would you explain it to me ? Allwright and Bailey said that in order to help our learners learn, it. is not the latest method that we need but rather a fuller understanding. of the language classroom and what goes on here. would you explain it. Advice of a fuller understanding of the language classroom will not change the current situation with a very high failure rate of learning English! Currently, the reading, listening, and speaking, and grammar, and pronunciation are taught separately as different English components. According to - 2011-bcc, the Learning Pyramid, this represents Passive Learning. The greatest disadvantage of bbb Passive Learning: learners can’t communicate in English because they can’t think in English. Researched Papers? They think in their native language, and then try to translate it into English fast enough so it would be close to the regular speech speed; it is a stressful and a very slow process. In a new method of learning English, called Active Training of English skills, reading, listening, and speaking are performed simultaneously.

In Active Training the learner starts speaking actively before he or she remembered the grammar rules or vocabulary lists. Active Training engages all the custompapers.com, senses, not just listening, and activates more areas of your brain so that the learner subconsciously retains more of what he or she is doing. Get the latest content first. Papers? No spam, ever. Unsubscribe at any time.

Who are TJ Taylor? TJ Taylor is bbb, a language school that organises intensive courses in the UK and Ireland for professionals, and delivers corporate courses in Italy for over 100 companies. Founded in 2003 Learn more.

analytical law essay How to develop and bbb, write an what parts of the essay analytic essay. Custompapers.com! Argument : Writing an analytic essay requires that you make some sort of argument. The core of this argument is what are the of the essay, called a thesis. Bbb! It is your claim, succinctly stated in a single sentence. Residency! What do budding literary critics such as yourselves argue about? You make a pervasive, persistent case that a certain thing is true about a piece of literature. This thing should not be readily obvious to the casual reader of the custompapers.com literature in question. It is what you draw out of the book or essay, how you interpret it. It is a claim that must be supported by specific evidence from the text.

Thesis statement: At least once during the course of writing your essay, isolate what you consider to be your thesis. Is your proposition both arguable and are the of the, reasonable? If it is obvious (i.e. Mary Rowlandson used the custompapers.com Bible for irish comfort during her captivity) you don’t have an argument. Argument requires analysis (i.e. taking things apart and explaining them). One test that may help is asking yourself what the opposite side of your argument would be. A good, complicated thesis (which was proposed by one of your classmates) is bbb, that Although Mary Rowlandson says she often used the Bible as a source of comfort during her captivity, a closer reading of her narrative suggests her faith may have been more troubled by her experience than she lets on. One useful structure for good irish writing thesis statements is the although form used above: Although x seems to custompapers.com, be true about case of a child behavioral, this piece of literature, y is in fact more true (or makes our thinking about x more complex). In this form you present both sides of your argument at once and show which side you’re on. Your job in custompapers.com, the paper is to convince your reader to join you. Another way to write an effective thesis statement is to use the form If we look closely at x (e.g. how Bradford defines freedom) we discover y (that ). In order to find something to argue: Look for images or metaphors that the author uses consistently.

What other sort of what are the pattern can you identify in the text? How do you interpret this pattern so that your reader will understand the book, essay, poem, speech, etc. better? What philosophical, moral, ethical, etc. ideas is the author advocating or opposing? What are the consequences of accepting the author's argument? Explain how the work functions as a piece of rhetoric-- how does the author attempt to convince his or her reader of something? For instance, what widely held beliefs do they use to custompapers.com bbb, support their argument? How do they appeal to emotions, logic… Re-examine something that the text or most readers take for granted (that Thoreau’s book Walden represents his attempt to escape from critique society).

Question this major premise and see where it takes you. Bbb! Ask yourself if an author’s literary argument is inconsistent with itself or is in some way philosophically dangerous, inadequate, unethical, or misleading. Examine how characters are presented in a story. How do they help the main character to develop? Which characters are trustworthy? Which are not? Why are they presented this way? What counts as evidence: Structure : How the parts of the book or essay follow one another; how the parts are assembled to make a whole?

Why does the author start where they start, end where they end? What is the logical progression of thought? How might that progression be intended to affect the reader What effect might this progression of ideas have on a generic reader or on a reader from the time period in dissertations, which the custompapers.com work was written? Does the piece move from the general to the specific or vice versa? If you could divide the case study of a child book/essay into sections, units of meaning, what would those sections be?

How are they related to bbb, each other? Note that chapters, while they form obvious sections can themselves be grouped. Referring to the text : In writing analytic papers that address any kind of literature, it is necessary to refer to the text (the specific words on the page of the book) in - 2011-bcc, order to support your argument. This means that you must quote and interpret passages that demonstrate or support your argument. Quotation is usually stronger than paraphrase. Remember also that your purpose in writing an essay is bbb, not merely to - 2011-bcc, paraphrase or summarize (repeat) what the author has said, but to custompapers.com bbb, make an argument about how the study of a make their point, or how they have said what they have said. Language : includes the way an author phrases his or her sentences, the key metaphors used (it’s up to you to explain how these metaphors are used, why these metaphors are appropriate, effective, ineffective, or ambiguous). Bbb! Is the way a sentence is phrased particularly revealing of the author’s meaning? Practical Essay-writing Hints: Please title your paper and residency creative writing, make the title apt and enticing--I LOVE a good title. It puts me in custompapers.com, a good mood before I start reading.

Be clear about whether you’re writing about a book, an essay (non-fiction, short prose), a story (short fiction) a poem, a novel (book-length fiction), an autobiography, a narrative (as in Captivity Narratives) etc. Walden is a book comprised of chapters. Each of these chapters could also be called an essay. Mfa Low Residency Writing! Within these essays, Thoreau sometimes tells stories. The book itself is not a story, but closer to bbb, a narrative, which is non-fiction. - 2011-bcc! Always go through at least two drafts of you paper . Let your paper sit, preferably for 24 hours between drafts sometime during the process of your writing. Eliminate first person pronoun (I) in your final draft (it’s OK for custompapers.com rough drafts and may help you write). If your paragraphs are more a full page or more in length it is more than likely that they are tooooooo long . Probably you have too many ideas in the air at once. Consider breaking the paragraph in dissertations, half--into two smaller, but related arguments.

Your reader needs a break, needs more structure in order to be able to follow your meaning. If several of your paragraphs are exceedingly short (4-5 lines), it is likely that you are not developing your ideas thoroughly enough--that you are writing notes rather than analysis. Short paragraphs are usually used as transitional paragraphs, not as content paragraphs. Custompapers.com! (Short paragraphs can be used in the rhetorical devise of reversal where you lead your reader down a certain path (to show them one side of the argument, the one you are going to oppose) and then turn away from that argument to state the true argument of your paper.) Employ quotation often. One quotation per argumentative paragraph is essay, usually necessary. Depending upon the length and complexity of the bbb passage or topic you're dealing with, more quotations may be useful to prevent you from getting too far away from the text. Your quotations combined with your interpretations are your proof. Be sure that you show your reader how they should interpret these quotations in order to follow your argument. (Almost every quotation should be followed by an interpretation, a deeper reading of what is researched papers, being said and how its being said. This interpretation demonstrates how the quotation supports the custompapers.com bbb claim you're making about it). What Are The Parts Of The Essay! Pay attention to custompapers.com, metaphor, phrasing, tone, alliteration, etc. How is the - 2011-bcc author saying what they are saying--what does that teach us about the text? Remember to write directive (sometimes called topic) sentences for your paragraphs . The first sentence of bbb any paragraph should give your reader an idea of case child behavioral problems what the paragraph is going to say and custompapers.com bbb, how the paragraph will connect to the larger argument.

It should have more to do with what you have to say about the materials than what the author him or herself has said. Transitions between paragraphs : try to get away from case behavioral using The next, First of all Another thing. to connect your paragraphs. This is the list method of custompapers.com bbb structuring a paper--not an integrated, logical approach. A really strong transition makes the logical connection between paragraphs or sections of a paper and - 2011-bcc, gives the custompapers.com bbb reader a sense that you’re building an argument. To make sure you are making a well-connected argument, ask yourself how the good irish last sentence of bbb each paragraph and the first sentence of the next are connected. Each of the sentences within your paragraphs should be related somehow (follow from, refer to, etc.) the are the parts essay one that precedes it, and the one which follows it. This will help the reader follow the flow of your ideas. The order of your paragraphs should reveal a developing argument.

On the most basic level, you should be able to consciously justify the presence and bbb, placement of every word in every sentence, every sentence in every paragraph, every paragraph in every essay . To repeat: in revising your papers after the papers first draft (which is always, inevitably to some degree confused because you are involved in the process of working your ideas out), you should be highly conscious of what you are doing and why you are doing it.

essay drawing Figure 1. Donald Judd, Untitled , 1967. Graphite on paper, 10 3/4 x 13 1/4 inches (27.3 x 33.7 cm) Art © Estate of bbb Donald Judd/Licensed by VAGA, New York, NY. System, Seriality, and the Handmade Mark in are the essay, Minimal and Conceptual Art. The exhibition Notations: Contemporary Drawing as Idea and Process presents drawings produced by seminal American artists associated with Minimal, Postminimal, and Conceptual art, as well as a selection of custompapers.com works by artists of subsequent generations who continue to engage with the aesthetic strategies and procedures of study with behavioral problems their predecessors. 1 In some cases the drawings on view are self-contained and autonomous, but often they are studies for how to bbb, proceed to make a sculpture, an installation, or a site-specific work. The grid, the diagram, and serial ordering (all methods of de-skilling or noncomposition) are regularly employed as foils to subjective decision making. Yet the examination of for essays a broad array of drawings by these practitioners reveals distinctive bodies of work that, far from custompapers.com, being impersonal or uniform, are as diverse as the phrases for essays, artists are innovative.

While some artists tended to foreground thought and knowledge as the essential components of an artwork, others focused on the materials themselves with an equal degree of concentration. In both instances the visual and physical allure of their drawings is no less important than the ideas that they convey. Central to the exhibition is the paradoxical compatibility between the use of a priori systems and the individual touch of the artist in an artistic environment that embraced an custompapers.com bbb antiemotive “serial attitude” as something akin to an ethos. 2 Much has been made of the purported purging of authorial intentionality and subjectivity in researched papers, Minimal and Conceptual art, which placed a heightened emphasis on analytic rigor, systematic planning, and serial methodologies. This move is custompapers.com bbb often characterized as a “cool” reaction to the “hot” psychologically transparent practices and rhetoric of phrases heroic individualism associated with modernist abstraction in the United States in the post–World War II era. 3 The purported shift from hot to cool—from gestural disclosure to rational, antiauthorial approaches—was, however, never definitive or clear-cut. Drawing, a medium long associated with both the activity of ideation and the manual act of creation, played a central role in attempts by artists associated with the process-based and conceptually rigorous practices of Minimal and Conceptual art to open up established understandings of aesthetic production as well as a generative site for custompapers.com the ongoing negotiation of the relationship between subjective and objective approaches, between touch and measured distance. Drawing thus offers a compelling means through which to reexamine the received narrative of the art of this period. Artists engaged in a variety of strategies and agendas—including Dan Flavin, Eva Hesse, Barry Le Va, and Sol LeWitt—readily embraced drawing’s salient attributes—its mobility and elasticity, its economy and antimonumental character, its exploratory nature, and its facility for acting as a mediator, translating abstract concepts into papers form—to produce works that are notational, diagrammatic, and reductive. Often small in scale, delicate, playful, and highly nuanced, these drawings suggest a level of intimacy and direct encounter with the artists’ thoughts and intentions that is less readily apparent in custompapers.com bbb, their work in - 2011-bcc, other mediums. Custompapers.com Bbb! Drawing is approached here as a powerful if underrecognized lens through which to explore the productive tensions between rational calculation and subjective expression, concept and material form, and - 2011-bcc, precision and disorder that animate much of the work on view in this exhibition.

Industrial Fabrication / Individual Notation. Employing basic forms, industrial materials, and serial repetition, artists associated with Minimalism, such as Donald Judd and Dan Flavin, sought to free art from symbolic emotional content and pretensions about its transcendent quality. While the established narrative of Minimalism emphasizes an obscuring, even an erasure, of the artist’s hand through the use of industrial fabrication and readymade materials, the preparatory and working drawings (necessities given that their art objects were fabricated industrially) produced by custompapers.com bbb these artists reintroduce the hand into the movement’s legacy. 4 By revealing the idea of the researched, system and the plan for bbb construction, these drawings expose the process of creation and stand as vital counterpoints to the sterile perfection of the standardized industrial Minimalist object. The “literalist” position held by Minimalism in the mid-1960s is exemplified by mfa low residency writing the work of Judd, whose 1965 essay “Specific Objects” set out the basic tenets of his approach: creating self-sufficient and self-referential objects based on material specificity. Custompapers.com! Using industrial materials such as Plexiglas, aluminum, and - 2011-bcc, rolled steel rather than fine art materials, Judd placed his work in custompapers.com, a continuum with the mass-produced commodity as opposed to the history of sculpture. The artist employed drawing to what, work out structure, proportion, and spatial relationships for bbb sculpture but never considered his works on paper as anything other than technical instructions, a type of are the parts of the language used to convey information for the execution of standardized three-dimensional forms.

Hand-drawn works providing dimensions and custompapers.com, material specifications, such as his untitled drawing of 1967 (fig. 1), paradoxically support his decidedly hands-off management style of delegation and - 2011-bcc, supervision. 5. While Judd understood his working drawings as necessary supporting material for the creation of bbb his serial sculptural works, drawing played a more essential role in the practice of his Minimalist contemporary Dan Flavin. The artist drew incessantly and for a variety of purposes: to notate an idea or create working drawings for artworks in other media; to make quick renderings of nature; to execute finished presentation drawings for sale; and to researched, commission “final finished diagrams”—drawn in colored pencil on graph paper by his wife, son, and studio assistants—which acted as records of his site-specific fluorescent light installations. 6 The act of drawing increased in importance once Flavin’s practice shifted, around 1963, to making works employing readymade fluorescent lamps bought from the hardware store and installed by technicians. He used commonplace materials (ballpoint pen, office paper) to sketch and document possible arrangements for site-specific installations. Although he tended to downplay the graphic value of these drawings, they were essential to his practice, existing as residues of thought. Flavin was always careful to save and date each of custompapers.com these works on paper in order to record the sequence in which they were made. Drawing thus became a way of projecting and planning situations and a means of archiving those plans, relating both to irish for essays, the future and to the past.

7. Figure 2. Dan Flavin, Four drawings for the John Weber Gallery, Feb. 7, 1973; Feb. 8, 1973; Feb. 12, 1973; Feb. 14, 1973 , 1973. Ballpoint pen on typing paper, 4 sheets, each 8 1/2 x 11 inches (21.6 x 27.9 cm) © 2012 Stephen Flavin / Artists Rights Society (ARS), New York. Four Drawings for the John Weber Gallery, Feb. Custompapers.com! 7, 1973; Feb.

8, 1973; Feb. 12, 1973; Feb. 14, 1973 (1973; fig. 2) is representative of these working drawings. Irish! Rendered in pen on white typing paper, these minimal graphic renderings are composed of a series of what Flavin described as “impetuous marks, sudden summary jottings . . . those of a kind of intimate, idiosyncratic, synoptic shorthand (by now, mainly my ‘style’).” 8 The four drawings that make up this group were produced over custompapers.com bbb the course of a week.

Flavin scribbled over researched papers and rejected the earliest drawing in the series (Feb. 7, 1973), while the custompapers.com bbb, word final is written and case behavioral problems, underlined in his expressive handwriting at the top of the sheet dated February 14, 1973. Memos run all over these pages, supplying information such as color, location, and dimensions. Fluorescent tubes are represented by custompapers.com writing out the name of the color horizontally and vertically (daylight, warm white, cool white, red, yellow, etc.), literally drawing with words. One drawing includes a series of dedications to friends: “to Kay Foster,” “to Donna.” Personal dedications were common in Flavin’s practice, referring not only to good phrases for essays, friends but also to art historical figures such as Barnett Newman and to political events, as in a 1970s drawing dedicated “to the young woman and men murdered in Kent State and Jackson State Universities and to their fellow students who are yet to be killed.” The inclusion of custompapers.com these personal notes lends Flavin’s work a poetic and political dimension not normally associated with the technical, industrial look of Minimalism. Drawing proved less well suited to the overall goals of other artists associated with Minimalism, for whom the medium gave undue preference to the conceptual over the physical and temporal experience of their sculptural work and the ambiguities of that experience. The emphasis on the gap between conception and researched, perception, or between the idea of the work and the experience of its physical form, inherent to drawing, troubled artists such as Carl Andre, who rejected a conceptual label for his practice, framing it instead as overtly materialist. Custompapers.com! 9 The viewer of his floor pieces, exemplary works of study of a child behavioral problems Minimalist art, was meant to be ambulatory: “My idea of a piece of sculpture is custompapers.com bbb a road.

That is, a road doesn’t reveal itself at any particular point or from - 2011-bcc, any particular point. . . . Most of my works—certainly the successful ones—have been ones that are in a way causeways—they cause you to make your way along them or around them or to custompapers.com bbb, move the spectator over them.” 10 An Andre floor sculpture is intended to provide a phenomenological encounter, extending into and articulating its surroundings; viewers can stand on critique dissertations top of and move across his horizontal works and not see them, experiencing a given piece through a tactile rather than an optical relationship. Figure 3. Carl Andre, Blue Lock , 1966. Colored ink and felt-tip pen on graph paper, 8 3/4 x 9 3/4 inches (22.2 x 24.8 cm) Gift of Sally and Wynn Kramarsky, The Museum of Modern Art, New York. Art © Carl Andre/Licensed by VAGA, New York, NY. Given the importance that he placed on bbb both the materiality of the sculptural object and the viewer’s spatial encounter with it, Andre was resistant to resolving a given work in a single, fixed image, be it in the form of critique dissertations a preparatory drawing or an installation photograph.

In Blue Lock (1966; fig. 3), for example, he attempted to work against the static properties of drawing in order to convey both the conceptual simplicity and the perceptual complexity of the sculptural work to which it relates. 11 Working on graph paper, he registered his idea for a floor sculpture as both a square and a rectangle made up of bbb repeated rectangular units. In two adjacent grids he filled the regimented squares of the paper with handwritten letters that spell out the mfa low residency creative writing, words lock and blue . Bbb! Written in all caps, the letters run in multiple directions, suggesting manifold views—the viewer is compelled not only to read across the grids but also to turn the sheet around to view it from diverse vantage points. 12. Richard Serra similarly grappled with the irish phrases, disjunction between the fixed nature of the preparatory sketch and custompapers.com, the physical experience of parts of the his large-scale sculptural work in space and time. Custompapers.com Bbb! Early in his career, the artist produced small working drawings executed in graphite on paper, denoting a process at phrases for essays once notational and projective. Untitled (Preliminary Drawing for L.A. County Museum) (1971; fig.

4) provides a bird’s-eye view of an initial concept for a sculpture made of industrial sheets of steel, one that was destined to remain unrealized. While the custompapers.com, drawing offers an overview of the form of the sculpture, it remains unconcerned with the perceptual shifts unfolding over time and the transient experiences of a specific site, which would become a major feature of Serra’s monumental sculptural projects. 13 The artist soon rejected such working drawings altogether, stating: “I never make sketches or drawings for sculptures. I don’t work from an a priori concept or image. Sculptors who work from drawings, depictions, illustrations, are more than likely removed from the working process with materials and construction.” 14. Figure 4. Richard Serra, Untitled (Preliminary Drawing for critique L.A. County Museum) , 1971. Graphite on paper, 17 3/4 x 23 1/2 inches (45.1 x 59.7 cm) © 2012 Richard Serra / Artists Rights Society (ARS), New York. Figure 5. Richard Serra, Titled Arc , 1986. Oil crayon on paper, 19 x 24 1/2 inches (48.3 x 62.2 cm) © 2012 Richard Serra / Artists Rights Society (ARS), New York.

Drawing would remain a fundamental practice for Serra nevertheless. He began to reverse the medium’s traditional role, however, sketching his sculptures after they were completed as a means of thinking through formal problems and understanding what he sees and encounters. 15 With Tilted Arc (1986; fig. 5), one in a series of sketches in custompapers.com, notebooks made with oil crayon, drawing becomes a means to revisit a piece, in this case his work of public art of the same title constructed in 1981 at - 2011-bcc Federal Plaza in New York. While photographs of the sculpture fulfill the roles of documentation and dissemination, Serra’s drawing—consisting of a few bold, black lines in custompapers.com bbb, oil crayon—performs another function, that of distilling his physical experience of the piece on-site.

The process of making the work is palpable: the dissertations, actions of the custompapers.com bbb, hand, its movement and pressure, are visible and felt on the surface of the paper. Much like the quick notations and personal dedications found in mfa low creative, Flavin’s work—which subvert the cold, detached character of his light installations—Serra’s physically expressive and gestural drawing works to destabilize the aggressive character of his monumental sculptural practice. Begun during the prolonged public hearings and lawsuits relating to Tilted Arc , which would result in the removal and ultimate destruction of the sculpture in bbb, 1989, this series of sketches also retains what Yve-Alain Bois has described as a “sense of mourning,” a sober look back at a project that can never again be experienced in real time and space. 16. Prescribed Procedures / Amorphous Results.

By the researched, late 1960s, the emphasis on materiality and physicality of experience, evinced in both Andre’s and Serra’s distinctive approaches to drawing and sculpture, was pervasive. Custompapers.com Bbb! Many artists attempting to extend or, in some cases, react against for essays the principles of Minimalism explored process, performance, installation, and site-specific approaches to creation. Barry Le Va’s opening up of the boundaries of sculptural experience with his antiformal dispersals of nontraditional materials exemplifies a larger shift away from the pristine, manufactured look of Minimalism toward an exploration of the ways in which a work of art literally comes into being. Custompapers.com! The term Process art encompassed practices like Le Va’s, in which the importance of a work of art is understood to lie more in its materiality and how it was made than in the final product. Mfa Low Creative Writing! Process-based works frequently took the bbb, form of papers ephemeral actions, such as the performance of common tasks detached from subjectivity, as well as temporary, site-specific installations. Preparatory and custompapers.com bbb, presentation drawings are often the critique dissertations, only remaining witnesses (besides documentary photographs) to the transient events that these artists enacted and the materials that they engaged with. Figure 6. Barry Le Va, Wash , 1969. Ink on graph paper mounted on paper, 18 1/2 x 22 inches (47 x 55.9 cm) © 2012 Barry Le Va. In 1966 Le Va began producing his distribution pieces, floor-based installations that rejected traditional notions of a strictly ordered composition. These works exploited the properties of everyday materials—felt, chalk, flour, broken glass, mineral oil, iron oxide—and the relative relationships established through loose juxtaposition.

Despite the accidental nature of Le Va’s mutable compositional strategy, drawing remained central to his sculptural practice, in the form of diagrammatic sketches or flexible blueprints that brought order to the formlessness that characterizes his contingent installations. Custompapers.com! 17 He drew “to be alone with myself,” “to discover and clarify my thoughts,” “to visualize my thoughts,” and “to convince myself some thoughts are worth pursuing.” 18 Certainly one can detect a sense of disegno in his conception of drawing—that is, a projective and idealist belief in the medium as uniquely capable of revealing the what are the of the essay, artist’s mind at work and custompapers.com, exposing the mechanism of the creative process. Yet Le Va’s employment of the diagram (a form typically associated with architecture, engineering, and mathematics rather than with art) in works such as Wash (1968; fig. 6), a study for what are the of the a distribution piece, complicates the romantic idea of drawing as an custompapers.com unmediated reflection of the what essay, mind of an individual as registered through the autographic mark. His methodical ordering of space on the page belies the accidental appearance and custompapers.com, unstable dispersal of materials that define his distribution pieces by revealing the predetermined nature of the overall arrangement of the work. 19 Orderly and researched papers, precise in process and bbb, appearance, his works on paper enact a reversal of the traditional understanding of drawing as a flexible site for case study of a child problems spontaneous creation.

In Le Va’s case, spontaneity is ultimately deferred onto the unfolding of custompapers.com events occurring in are the, the space of the gallery itself. Wash (1968) exemplifies the bbb, generative tension between the with behavioral problems, random and the orderly that Le Va actively cultivated in his early works. The drawing includes passages of graph paper on which the custompapers.com, artist first mapped out the distribution of pieces of felt and shards of - 2011-bcc glass. Le Va and many of his contemporaries frequently used graph paper, not so much for its look as for bbb its suitability for the transfer of ideas into form. As the artist Mel Bochner reasoned, “graph paper reduces the tedious aspects of researched papers drawing, and custompapers.com, permits the easy and immediate alignment of random thoughts into conventionalized patterns of reading and forming.” 20 Le Va cut up the uniform graph paper into random shapes, repositioned the fragments atop a sheet of dissertations white paper, and connected the pieces through a series of colorful stains made using red, black, and gray ink. The artist’s handwritten inscription placed under the custompapers.com bbb, drawing makes it clear that the stains are meant to reference specific materials: red or black iron oxide and mineral oil. This diagram was apparently never realized in sculptural form but is related to a series of irish phrases impermanent installations that Le Va would complete at the Walker Art Center in Minneapolis in custompapers.com, 1969. These installations involved minerals in different states of saturation (wet, damp, and dry) and their potential chemical reactions. Substances were poured directly on mfa low the gallery floor and were allowed to dissolve and run into one another, eventually drying, cracking, and staining over time. 21 The strict formal economy of Le Va’s drawn plan simultaneously contradicts and enhances the flux, flexibility, and physical damage unleashed in custompapers.com, the space of the gallery.

Figure 7. Essay! William Anastasi, Untitled (Subway Drawing) , 1973. Graphite on paper, 7 5/8 x 11 1/8 inches (19.4 x 28.3 cm) Mildred Lane Kemper Art Museum, Washington University in St. Louis, Gift of Mr. and Mrs. Gary Wolff, 2011. © 2012 William Anastasi. Figure 8. William Anastasi, Untitled (Subway Drawing) , 2009. Graphite on paper, 8 x 11 1/2 inches (20.3 x 29.2 cm) © 2012 William Anastasi. William Anastasi’s subway drawings (figs. 7, 8) engage a similar process-driven dynamic—highly prescribed yet open to unforeseen occurrences—while reflecting a very different intention from the deliberate, diagrammatic approach employed by Le Va. Beginning in custompapers.com bbb, the late 1960s, Anastasi developed his unconventional series of mfa low “unsighted” works—blind drawings, pocket drawings, and subway drawings—as means of abdicating rather than establishing control by submitting the bbb, graphic process to chance.

To create his ongoing series of subway drawings, he sits on a subway train, places a sheet of paper on a board on his lap, takes a pencil in dissertations, each hand, rests the points on the paper, closes his eyes, dons headphones to block out all ambient sound, and lets the movement of his body in custompapers.com, transit determine the composition of each work. Rather than relying on dissertations vision, he creates the work by assigning himself a simple task and arbitrary limits: each drawing is produced in the time it takes him to custompapers.com, get from point A to point B on the subway and researched, is finished when he gets off the bbb, train at a predetermined destination. By drawing blind and incorporating chance, Anastasi subverts the tradition of drawing as a synthesis of critique dissertations vision, knowledge, and manual skill. In carrying out this prescribed act, which is custompapers.com bbb both meditative and absurd, the artist places his focus squarely on phenomenology. Phenomenological impact became a key aspect in some strains of Minimalist sculptural production in the late 1960s as artists such as Carl Andre, Robert Morris, and Richard Serra were preoccupied not only with the process of - 2011-bcc production but also with how a work was perceived by the viewer in real time and space.

22 These artists often forced the spectator’s body into a confrontation with an custompapers.com object or a visual field as a form of defamiliarization, exhorting viewers to - 2011-bcc, become conscious of their own processes of perception in bbb, order to see beyond the critique, prevailing conventions of art. With Anastasi’s more modest drawings, however, it is not the spectator’s active experience of a sculptural work that is highlighted but that of the artist himself. His body becomes a key instrument in the overall performance, serving as a passive implement that absorbs and records motion. Always consisting of two scribbled clusters of lines that move in all different directions, the subway drawings read as residues of a durational performance and as records of Anastasi’s travels across New York, revealing the temporal experience of the artist. Custompapers.com! Systematic in approach and detached in procedure, this brand of papers embodied mark making nevertheless proffers a significant reopening to custompapers.com, the bodily subject. Sol LeWitt pushed the process- and systems-based approach to artistic production in still another direction.

Rejecting any focus on the performing body of the artist, he elevated the working through of an idea to a position of importance, which he understood as equal to critique, that of the resulting work. Though initially associated with Minimal art, LeWitt emerged as one of the leaders of Conceptual art. In his “Paragraphs on bbb Conceptual Art” (1967), which became in effect a manifesto for the movement, he crystallized a radically divergent move in postwar art toward praxis as idea based: “If the artist carries through his idea and makes it into visible form, then all the steps in critique dissertations, the process are of importance. The idea itself, even if not made visual, is as much a work of art as any other aesthetic product. All intervening steps—scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations—are of interest.” 23 Given the importance LeWitt placed on custompapers.com bbb the “intervening steps” in the manifestation of an idea, both drawing and phrases for essays, language (visual experience and linguistic experience) hold a privileged place in custompapers.com bbb, his body of work. Figure 9. Sol LeWitt, Three-Part Variations on Three Different Kinds of Cubes 331 , 1967. Ink and graphite on paper, 11 3/4 x 23 3/4 inches (29.8 x 60.3 cm) © 2012 The LeWitt Estate / Artists Rights Society (ARS), New York. Three-Part Variations on Three Different Kinds of Cubes 331 (1967; fig. 9) is a drawing of critique a series of three-dimensional structures related to concurrent sculptural explorations. LeWitt plotted different permutations on three-cube constructions or, as he wrote at the top of the drawing in capital letters: “three three-part variations in custompapers.com, which the - 2011-bcc, top and bottom cube have one side removed (3) while the middle cube is custompapers.com bbb solid (1).” The artist replaced traditional principles of sculptural organization and compositional relational order with a chosen permutational system that can be rationally calculated and thus understood by the viewer either mentally or in critique, material form.

The cubes are drawn in isometric perspective (a technique commonly employed in technical or engineering drawings) on custompapers.com a hand-drawn grid. The use of the grid emphasizes the uniformity of the cubes: each cube is two grid squares tall and two grid squares wide. The grid and the technical rendering give the mfa low residency, appearance of an ordered sequence intended to provide objective visual information, expressing a universalizing vision of industrial-age perfection based on serial production. It appears that LeWitt used this language of efficiency in order to custompapers.com bbb, subvert it, however. 24 The seemingly endless potential for variation implied in his system gives the mfa low residency writing, lie to custompapers.com bbb, the fundamental arbitrariness of his concept and the subjective decision making that orders it. He employed the grid, the cube, and serial structure as checks to subjective choices, yet his drawing and its system of rules paradoxically work to reaffirm the creative role of the artist. 25. Although the serial is commonly associated with the rationalism found in Minimalist works by artists such as Judd, Andre, and Flavin, it always holds within it a relationship to its opposite: the random or antirational. LeWitt acknowledged as much in his second text on Conceptual art, “Sentences on Conceptual Art” (1969), making a distinction between the logical approach of scientific or industrial production and that of aesthetic experience: 1. Conceptual artists are mystics rather than rationalists.

They leap to study of a child with problems, conclusions that logic cannot reach. 2. Custompapers.com Bbb! Rational judgments repeat rational judgments. 3. Irrational judgments lead to new experience. 4. Formal art is essentially rational. 5. Irrational thoughts should be followed absolutely and logically. 26. LeWitt uses the what are the, word irrational loosely in this text. Custompapers.com Bbb! Employed in this context as a means of signaling the critique, polar opposite of rational judgment and sound logic, the term also implies a type of action that is completely beyond human control, a meaning that seems to move outside the bounds of the custompapers.com, dichotomy that he strives to study child problems, set up between the rational and the subjective. While LeWitt held on to a systematic approach to artistic production, he recognized that only by moving past the custompapers.com, tautological thinking of rationalist aesthetic approaches could one arrive at residency writing new forms and experiences. Figure 10.

Eva Hesse, Untitled , 1967. Ink on graph paper, 11 x 8 1/2 inches (27.9 x 21.6 cm) © The Estate of Eva Hesse, Hauser #038; Wirth Zurich London. Eva Hesse also probed the relationship between order and disorder, between serial methodology and antirational processes, yet her work delineates an opposing limit of this practice. Although she was part of the circle of Minimalist and Conceptual artists who worked and socialized in custompapers.com, New York in critique dissertations, the 1960s and 1970s, her artistic production is custompapers.com often characterized as Postminimal, a term that acknowledges her move to open up the constrained structures of Minimalism by giving geometric form an organic and bodily dimension. Good Irish Phrases! Hesse’s work is bbb notable for the way in which it implicates the body in - 2011-bcc, new ways—the body understood as a psychic site rather than the neutral or passive one of Anastasi’s subway drawings and much Minimalist art. Drawing played a central part in this expansion of boundaries. By 1966 Hesse began making a series of drawings using black ink on graph paper. She worked with the controlled grid, but was equally interested in custompapers.com bbb, the potential for accident, embarking on what has frequently been described as a form of compulsive repetition and accumulation. What Parts Essay! The artist herself gave credence to such an interpretation with statements such as, “Series, serial, serial art, is another way of repeating absurdity.” 27 Her untitled drawing of 1967 (fig. Custompapers.com! 10) is exemplary of this series of irish works in which the basic element of the circle is repeated over and over to fill in the form of the grid. Although relatively sparse, the drawing exudes a concentrated intensity that works to heighten the psychological dimension of Minimalism’s embrace of geometry and bbb, repetition.

The recurrence of the circle involves a mechanical gesture, yet the end result is decidedly uneven; upon closer inspection, the irregularities of each circle reveal themselves. Diversity and variation are achieved not as a function of rules of permutation, as in LeWitt’s drawing, but as a result of the uneven pressure of the study child behavioral, artist’s hand on the paper. This endows the drawing with a decidedly personal, tactile dimension that opposes the strict reductivism of LeWitt, her Conceptualist contemporary. Minimal and bbb, Conceptual Drawing and are the essay, its Legacy. Although their approaches and agendas were notably distinct, all the bbb, artists discussed here were working through the fallout of a modernist vision of art and society, self-consciously rethinking and challenging established traditions of artistic practice. Created during a liminal moment between modernism and postmodernism, their drawings represent less a stylistically coherent body of work than an intensive mode of thinking about redefining the material and conceptual conditions of - 2011-bcc art-making. While attempting to move away from the emotive claims of their Abstract Expressionist predecessors, artists associated with Minimal, Postminimal, and Conceptual practices wanted to uphold the freedom of experimentation with form and materials initiated by artists such as Jackson Pollock. The climate of analysis and material experimentation of the 1960s and 1970s in the United States not only custompapers.com bbb, addressed the artwork and standards of artistic production but also extended to the critique of researched institutions, the role of the artist and bbb, audience, the dissemination of artworks in the market, and the industrial conditions of modern society.

28 Drawing was certainly not the only medium to reflect these tendencies, but its diverse implementation, immediate character, and ability to convey process made it a particularly apt means of registering the generative tension between analytical strategy and individual creation that underpins much of the art produced at this time. Figure 11. N. Dash, Commuter , 2011. Graphite on paper, 14 3/4 x 9 3/4 inches (37.5 x 24.8 cm) In the four decades since the 1970s, several significant paradigm shifts have reshaped the political and social world in which we live, including the study with behavioral, rapid rise of the digital age and an increased global connectedness accompanied by greater mobility, standardization, and homogenization. Art has continued to adapt to these new conditions.

Many of the issues that motivated the artistic struggle to work through and against modernist endgames—the idea that art is predicated on a progressive model of invention or the essentialist notion that something like the absolute essence of painting or sculpture exists—are of little interest to subsequent generations of artists. 29 They no longer feel compelled to grapple with the rules of such a limited approach; nor are they constrained by custompapers.com bbb postmodernism’s negative and nostalgic appraisal of the modernist past. - 2011-bcc! Rather, artists working today openly reference and revise the custompapers.com, art historical past, including the history of modernism, exploiting the possibility afforded them of freely engaging with the creative process to arrive at new forms and critique, ideas. Figure 12. Jill O’Bryan, 40,000 Breaths Breathed Between June 20, 2000 and March 15, 2005 , 2000-05. Graphite on paper, 60 x 60 inches (152.4 x 152.4 cm) The artists N. Custompapers.com! Dash and Jill O’Bryan, for mfa low residency instance, adopt a range of modernist strategies, including repetitive and serial processes as well as body and performance art, all of bbb which emerged in the 1960s and researched papers, early 1970s.

They take these strategies down markedly different paths, however, placing overt emphasis on bbb aesthetic gratification, material exploration, and critique dissertations, individual gesture coupled with a strong engagement with the tasks and rhythms of daily life. Rather than explicitly linking the practice of drawing to large-scale sculptural installations and other conceptual projects—as was the custompapers.com bbb, case in the work of Flavin, Serra, Le Va, and LeWitt—both artists embark on highly hermetic forms of dissertations creation through which the properties of drawing are probed and developed. Custompapers.com! They highlight labor-intensive methods of manual craft and the materiality of the specific medium being employed yet also implicate the artist’s body. N. Dash’s Commuter Works (ongoing since 2010) move beyond the notebook, the preparatory sketch, and the traditional form of pencil on paper (fig. 11). Her works appear conceptually in line with Anastasi’s subway drawings in that they record the artist’s bodily movements while riding public transportation in - 2011-bcc, New York, but they are created without the use of a drawing implement, revealing a desire for a more immediate connection between the custompapers.com, maker’s hand and the materials. Dash produces these works by folding, rubbing, creasing, and refolding sheets of paper and then applying pigment (graphite or indigo powder) to critique, them by hand in order to highlight the progressive accumulation of bbb wrinkles and marks. Her practice is based less on an exploration of automatic processes, chance occurrences, or a sublimation of the subjective self, as are Anastasi’s subway drawings, and more on an examination of the - 2011-bcc, means by which bodily expression can be embedded into the support materials associated with painting, sculpture, and drawing. Jill O’Bryan’s large-scale 40,000 Breaths Breathed between June 20, 2000 and March 15, 2005 (2000–2005; fig. 12) also turns drawing into bbb a recording device as the artist meticulously tracked her individual breaths over the course of five years, using only pencil marks on paper. In a manner similar to the accumulative gestures seen in Hesse’s gridded drawing, the graphic patterns that emerge across O’Bryan’s large sheet are not rigid or precise but rather organic and irregular, undulating with a gradation of tones based on the amount of pressure the artist exerted on the paper.

The final drawing appears as nothing less than a test of endurance, one that resonates with certain approaches to body art and papers, feminist agendas. Custompapers.com! With its emphasis on time and repetition, the work emerges as a fragile, obsessive attempt to explore the conditions of selfhood and study of a behavioral problems, register something of the daily experience of art. Figure 13. Janet Cohen, San Francisco at bbb New York, 10-8-2000, Mets win 4-0 , 2004. Graphite on paper, 9 1/4 x 13 inches (23.5 x 33 cm) © Janet Cohen, 2004. Janet Cohen’s ongoing practice of essay meticulously charting popular activities such as the seemingly random events of a baseball game offers yet another variation on this internal and indexical approach to custompapers.com bbb, mark making, one that appears to speak simultaneously to the fragmentation of contemporary life and nostalgia for a sense of completeness. Her clustered diagrams of overlapping numbers and letters in black and white pencil are the result of her own idiosyncratic system for estimating locations where pitches cross the strike zone and the results of the actual pitches during a given baseball game. Works such as San Francisco at New York, 10-8-2000, Mets win 4–0 (2004; fig. 13) exist as both abstract representations of these events and are the parts, as highly individual catalogs of time and bbb, thought whose underlying system is understood by the artist alone.

What exactly is at stake today in this intertwined desire for are the of the essay an immediacy of touch within prescribed limits? Marking up a blank piece of paper—experiencing a concrete and immediate way of making art within an evolving digital landscape that often removes us from experiencing “the real” and custompapers.com, ourselves—appears to offer itself as an inherently human activity. The use of predetermined parameters complements such individual efforts, providing a means of organizing thought, tracking time, and case study of a with problems, perhaps bringing a sense of order and consistency to the disorder of daily events. Drawing has always served as a vital means of custompapers.com bbb making sense of the world around us and the forces that animate it, mediating rather than mirroring our lived condition. Study Child With Behavioral! In the 1960s and 1970s artists grappled with industrial conditions then shaping their everyday lives by custompapers.com bbb engaging systematic and programmatic procedures to guide their work.

In many instances, the pronounced engagement with seriality and - 2011-bcc, repetitive marking, charting, and diagramming offered a means not of adopting the custompapers.com bbb, rational logic of industry but of highlighting art’s potential escape from it. It seems apt in - 2011-bcc, today’s contemporary climate of ongoing upheaval and perpetual advancement of digital technologies that the desire to draw, to custompapers.com bbb, mark, to track is mfa low residency creative embraced by artists who, much like their historical predecessors, seek to expand the capacities for invention while working to regain a sense of human experience. 1. All the works in the exhibition are drawn from the collection of Sally and Wynn Kramarsky, New York; several of them have been donated by the couple to The Museum of Modern Art, New York. Over the past few decades, the custompapers.com, Kramarskys have amassed a collection that provides an impressive overview of canonical Minimal, Postminimal, and Conceptual art, while continuing to collect works by emerging artists whose work is in line with this core aesthetic. 2. The term comes from Mel Bochner, “The Serial Attitude,” Artforum 16 (December 1967): 28–33. 3. See Irving Sandler, “The New Cool-Art,” Art in America 53 (February 1965): 96-101, and Pepe Karmel, “An In-Between Era,” in New York Cool: Painting and Sculpture from the NYU Art Collection (New York: Grey Art Gallery, New York University, 2008), 21–35. In recent years, several scholars have begun to rewrite the received history of postwar American art. See, for example, Catherine Craft, An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism (Chicago: University of Chicago Press, 2012). 4. Case Study Child Behavioral Problems! The language of late capitalist efficiency and organization informed many of these projects as artists mimicked the division of labor into mental and manual realms by commissioning others to bbb, realize their ideas or, in some cases, sidestepping actual material production altogether. For an in-depth analysis of the relationship between artistic production, labor, and the shifting socioeconomic context in 1960s America, see Helen Molesworth, Work Ethic (Baltimore: Baltimore Museum of Art, 2003), and Julia Bryan-Wilson, Art Workers: Radical Practice in the Vietnam War Era (Berkeley: University of irish for essays California Press, 2009).

5. Custompapers.com Bbb! Judd’s drawings, and the significant revision of the role of the artist that they suggest, would meet with controversy later in his career, when the Italian collector Giuseppe Panza authorized the fabrication of researched papers sculptures from the artist’s working drawings without Judd’s permission. Judd declared these works forgeries, insisting that his oversight was required in the fabrication of his work. Bbb! See Susan Hapgood, “Remaking Art History,” Art in America 78 (July 1990): 114–17. Critique! See also Molesworth, Work Ethic , 163. 6. Numerous publications since the bbb, 1970s have explored the papers, role that drawing played in Flavin’s artistic practice. See Emily S. Custompapers.com! Rauh, Dan Flavin: Drawings and Diagrams, 1963–1972 (Saint Louis: Saint Louis Art Museum, 1973); Dan Flavin: Drawings, Diagrams, and Prints, 1972–1975 (Fort Worth, TX: Fort Worth Art Museum, 1977); and Dan Flavin Drawing (New York: Morgan Library, 2012). 7. Case Study Of A Child With Behavioral! Briony Fer, “Nocturama: Flavin’s Light Diagrams,” in Dan Flavin: New Light , ed. Custompapers.com! Jeffrey Weiss (Washington, DC: National Gallery of Art, 2006), 46. 8. Dan Flavin, statement on - 2011-bcc view at the Kunstmuseum Basel in the exhibition Zeichnungen, Diagramme, Duckgraphik, 1972 bis 1975, und Zwei Installationen in custompapers.com bbb, fluoreszierendem Licht von Dan Flavin (1975), reprinted in Dan Flavin (1976), 6. 9. In a 1970 interview with Phyllis Tuchman, Andre states, “I am certainly no kind of conceptual artist because the mfa low residency creative, physical existence of my work cannot be separated from the idea of it….My art springs from my desire to have things in the world which would otherwise never be there.” See Phyllis Tuchman, “An Interview with Carl Andre,” Artforum 8 (June 1970): 60. 10.

Andre, ibid., 57. 11. The drawing relates to Andre’s planar floor sculptures Blue Lock Trial (1966), Blue Lock (1967), and Black Lock (1967). The latter two works have since been destroyed. 12. Christine Mehring provides a compelling reading of this drawing. See Mehring, “Carl Andre: Blue Lock, 1966,” in Drawing Is Another Kind of custompapers.com Language: Recent American Drawings from a New York Private Collection , by Pamela M. Lee and Christine Mehring (Cambridge, MA: Harvard University Art Museums, 1997), 28–29. 13. Yve-Alain Bois, “Descriptions, Situations, and Echoes: On Richard Serra’s Drawings,” in what, Richard Serra: Drawings, Zeichnungen, 1969–1990 (Bern, Switzerland: Bentelli, 1990), 17. 14. Richard Serra, “Interview: Richard Serra and Bernard Lamarche-Vadel,” New York, May 1980, first published in Artistes (November 1980), reprinted in Richard Serra: Interviews, Etc., 1970–1980 (Yonkers, NY: Hudson River Museum, 1980), 146.

15. For an in-depth analysis of Serra’s approach to drawing across his career, see Bernice Rose, Michelle White, and bbb, Gary Garrels, eds., Richard Serra Drawing: A Retrospective (Houston: Menil Collection, 2011). 16. Good Phrases! Bois, “Descriptions, Situations, and Echoes,” 28. 17. Klaus Kertess has aptly described Le Va’s drawings as having “the clarity and conviction of a topographic map or a computerized analysis of custompapers.com atmospheric turbulence.” See Klaus Kertess, “Between the Lines: The Drawings of Barry Le Va,” in Barry Le Va, 1966–1988 (Pittsburgh: Carnegie Mellon Art Gallery, 1988), 27. 18. Barry Le Va, “Notes” (undated), reprinted in Accumulated Vision: Barry Le Va (Philadelphia: Institute of Contemporary Art, 2005), 89. 19.

Ingrid Schaffner has perceptively noted that while Le Va’s installation photographs might tell us “how Le Va sees his installations,” it is phrases for essays his drawings that “tell us how to read them.” See Ingrid Schaffner, “Accumulated Vision and Violence, Barry Le Va,” in Accumulated Vision , 61. 20. Bbb! Mel Bochner, “Anyone Can Learn to Draw,” press release for case of a behavioral Drawings , Galerie Heiner Friedrich, Munich, 1969, reprinted in Bochner, Solar System #038; Rest Rooms: Writings and Interviews, 1965–2007 (Cambridge, MA: MIT Press, 2008), 61. 21. Marcia Tucker describes the 1969 installations in Tucker, “Barry Le Va: Work from 1966–1978,” in Barry Le Va: Four Consecutive Installations and Drawings, 1967–1978 (New York: New Museum, 1978), 12. For photographs of the installation, see ibid., 24, 25. 22. See particularly Robert Morris’s series of essays, “Notes on Sculpture” (February 1966) and “Notes on Sculpture, Part II” (October 1966), reprinted in Continuous Project Altered Daily: The Writings of custompapers.com bbb Robert Morris (Cambridge, MA: MIT Press, 1993).

23. Sol LeWitt, “Paragraphs on Conceptual Art,” in Open Systems: Rethinking Art, c. 1970 , ed. Donna DeSalvo (London: Tate Modern, 2005), 180; originally published in Artforum 5 (Summer 1967). 24. - 2011-bcc! James Meyer, Minimalism: Art and Polemics in the Sixties (New Haven, CT: Yale University Press, 2001), 187. 25.

In the 1960s LeWitt was attracted to the cube and the square as “grammatical devices from bbb, which the work may proceed.” He went on to elaborate: “They are standard and universally recognized, no initiation being required of the viewer. . Good Irish Phrases! . Custompapers.com! . The use of a square or cube obviates the necessity of inventing other forms and reserves their use for invention.” See Sol LeWitt, untitled statement in Lucy Lippard et al., “Homage to the Square,” Art in what parts essay, America 55 (July–August 1967): 54. 26. LeWitt, “Sentences on custompapers.com bbb Conceptual Art,” in papers, Sol LeWitt: Critical Texts , ed. Custompapers.com! Adachiara Zevi (Rome: I Libri di AEIOU, 1994), 88, originally published in 0–9 (New York, 1969). 27. Are The Parts Of The! Eva Hesse, quoted in Lucy Lippard, Eva Hesse (New York: De Capo, 1976), 96. 28. Josef Helfenstein, “Concept, Process, Dematerialization: Reflections on the Role of custompapers.com Drawings in Recent Art,” in Drawings of creative Choice from a New York Collection , ed. Josef Helfenstein and Jonathan Fineberg (Champaign, IL: Krannert Art Museum, 2002), 13. 29. Yve-Alain Bois examines the end of modernist painting in terms of play and gaming, suggesting that painting is never an endgame but a game comprising different matches.

See Yve-Alain Bois, Painting as Model (Cambridge, MA: MIT Press, 1990), 241–42. Jordan Kantor also takes up Bois’s analogy in her essay “Drawing from the Modern: After the bbb, Endgames,” in Drawing from the Modern, 1975–2005 (New York: Museum of Modern Art, 2005), 53–54. Error: Twitter did not respond. Please wait a few minutes and refresh this page. Error: Twitter did not respond. Please wait a few minutes and - 2011-bcc, refresh this page. All written content 2017 by bbb the authors. Concept and coding 2017 by the Fifth Floor Foundation.

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