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5 " Having been a Ship’s Captain, a Naval Officer a Mathematics & Science Teacher, most people would believe that my primary interests would be directed towards the sciences. On the other hand, those that know me to be an author interested in history, may believe me to be interested in the arts. University degrees usually fall into the general category of Art or Science. It’s as if we have to pick sides and back one or the other team…. With my degree in Marine Science I am often divided and pigeon holed into this specific discipline or area of interest. One way or the other, this holds true for most of us but is this really true for any of us. As a father I can certainly do other things. Being a navigator doesn’t preclude me from driving a car. Hopefully this article does more than just introduce Cuban Art and in addition gives us all good reason to be accepted as more than a “Johnny One Note.“ My quote that “History is not owned solely by historians. It is a part of everyone’s heritage” hopefully opens doors allowing that we be defined as a sum of all our parts, not just a solitary or prominent one. As it happens, I believe that “Just as science feeds our intellect, art feeds our soul.”
For the years that Cuba was under Spanish rule, the island was a direct reflection of Spanish culture. Cuba was thought of as an extension of Spain's empire in the Americas, with Havana and Santiago de Cuba being as Spanish as any city in Spain. Although the early Renaissance concentrated on the arts of Ancient Greece and Rome, it spread to Spain during the 15th and 16th centuries. The new interest in literature and art that Europe experienced quickly spread to Cuba in the years following the colonization of the island. Following their counterparts in Europe, Cuban Professionals, Government Administrators and Merchants demonstrated an interest in supporting the arts. In the 16th century painters and sculptors from Spain painted and decorated the Catholic churches and public buildings in Cuba and by the mid-18th century locally born artists continued this work.
During the early part of the 20th century Cuban artists such as Salvador Dali, Joan Miró and Pablo Picasso introduced modern classicism and surrealism to Europe. Cuban artist Wilfred Lam can be credited for bringing this artistic style to Cuba. Another Cuban born painter of that era, Federico Beltran Masses, known to be a master of colorization as well as a painter of seductive images of women, sometimes made obvious artistic references to the tropical settings of his childhood. As Cuban art evolved it encompassed the cultural blend of African, European and American features, thereby producing its own unique character. One of the best known works of Cuban art, of this period, is La Gitana Tropical, painted in 1929, by Víctor Manuel.
After the 1959 Cuban Revolution, during the early 1960’s, government agencies such as the Commission of Revolutionary Orientation had posters produced for propaganda purposes. Although many of them showed Soviet design features, some still contained hints of the earlier Cuban style for more colorful designs. Towards the end of the 1960’s, a new Cuban art style came into its own. A generation of artists including Félix Beltran, Raul Martinez, Rene Mederos and Alfredo Rostgaard created vibrantly powerful and intense works which remained distinctively Cuban. Though still commissioned by the State to produce propaganda posters, these artists were accepted on the world stage for their individualistic artistic flair and graphic design.
After bringing the various and distinct symbols of the island into their work, present day Cuban artists presented their work at the Volumen Uno Exhibit in Havana. Some of these artists were Jose Bedia, Juan Francisco Elso, Lucy Lippard, Ana Mendieta and Tomas Sanchezare. Their intention was to make a nationalistic statement as to who they were without being concerned over the possibility of government rep "

Hank Bracker

9 " The real core of the feminist vision, its revolutionary kernel if you will, has to do with the abolition of all sex roles - that is, an absolute transformation of human sexuality and the institutions derived from it. In this work, no part of the male sexual model can possibly apply. Equality within the framework of the male sexual model, however that model is reformed or modified, can only perpetuate the model itself and the injustice and bondage which are its intrinsic consequences. I suggest to you that transformation of the male sexual model under which we now all labor and " love" begins where there is a congruence, not a separation, a congruence of feeling and erotic interest; that it begins in what we do know about female sexuality as distinct from male - clitoral touch and sensitivity, multiple orgasms, erotic sensitivity all over the body (which needn't - and shouldn't - be localized or contained genitally), in tenderness, in self-respect and in absolute mutual respect. For men I suspect that this transformation begins in the place they most dread - that is, in a limp penis. I think that men will have to give up their precious erections and begin to make love as women do together. I am saying that men will have to renounce their phallocentric personalities, and the privileges and powers given to them at birth as a consequence of their anatomy, that they will have to excise everything in them that they now value as distinctively " male." No reform, or matching of orgasms, will accomplish this. "

14 " We can understand why one of the titles given to Jesus is that of ‘prophet.’ Jesus is the last and greatest of the prophets, the one who sums them up and goes further than all of them. He is the prophet of the last, but also of the best, chance. With him there takes place a shift that is both tiny and gigantic – a shift that follows on directly from the Old Testament but constitutes a decisive break as well. This is the complete elimination of the sacrificial for the first time – the end of divine violence and the explicit revelation of all that has gone before. It calls for a complete change of emphasis and a spiritual metamorphosis without precedent in the whole history of mankind. It also amounts to an absolute simplification of the relations between human beings, in so far as all the false differences between doubles are annulled – a simplification in the sense in which we speak of an algebraic simplification.
Throughout the texts of the Old Testament it was impossible to conclude the deconstruction of myths, rituals and law since the plenary revelation of the founding murder had not yet taken place. The divinity may be to some extent stripped of violence, but not completely so. That is why there is still an indeterminate and indistinct future, in which the resolution of the problem by human means alone – the face-to-face reconciliation that ought to result when people are alerted to the stupidity and uselessness of symmetrical violence – remains confused to a certain extent with the hope of a new epiphany of violence that is distinctively divine in origin, a ‘Day of Yahweh’ that would combine the paroxysm of God’s anger with a no less God-given reconciliation. However remarkably the prophets progress toward a precise understanding of what it is that structures religion and culture, the Old Testament never tips over into the complete rationality that would dispense with this hope of a purgation by violence and would give up requiring God to take the apocalyptic solution by completely liquidating the ‘evil’ in order to ensure the happiness of the chosen. "

René Girard , Things Hidden Since the Foundation of the World