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Friday, September 30, 2011

Abortion

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Abortion�The Wrong Choice


The abortion debate is raging in America. The opposing sides in the debate each strongly believe they are right. The pro-choice supporters see a womans right to choose as central to the debate. The life of the baby is the most important concern of the pro-life advocates. Very little middle ground exists on the issue of abortion. It seems that as long as contraceptives are not completely reliable and safe, abortion will remain an issue. This highly sensitive topic will undoubtedly be hotly contested for a long time to come Abortion should be illegal except in instances when the mothers life is endangered by the pregnancy.


Abortion is murder. The embryo is a person from the moment of conception. According to Shettles, Scientists identify the first moment of human life as that instant when a sperm cell unites with an ovum or egg cell (18). Most pro-choice supporters do not believe the fetus is a person until the first or second trimester. Pro-choice people do not think abortion is murder because they consider the aborted fetus a mass or cells or tissue (Shettles 0). Abortion is the taking of innocent human life, which is wrong under virtually any circumstances. An unborn baby is more than potential life. An unborn baby is meaningful human life that should not be considered expendable. After conception, no event occurs in the development of the fetus that indicates a change in the fetus from not being human to becoming one (Foster ). Human life begins with conception. A middle-aged person, a teenager, and an unborn baby are all in stages of human life. Killing the unborn baby is no more justifiable than killing the two other people. Abortion is a practice that should be prohibited by law because it basically amounts to murder.


An unborn babys right to life should have priority over a womans right to choose. No woman or man should have the power to decide if a baby is allowed to live. Pro-choice advocates believe womens rights are being jeopardized when the right to an abortion is taken away. The pro-choice camp fails to take into account that the baby has a right to life. A womans rights over her body do not give her the right to an abortion (Schwarz 11). If a woman has rights over her body, then the unborn baby has those rights too. The child has the right not to be killed. The appeal to a womans right over her body as a justification for abortion backfires because the right must also be extended to the child (Schwarz 1). All things considered, abortion is not made justifiable by appealing to womens rights over their bodies.


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Abortion should not be allowed because it is immoral. Foster states that There is no morally relevant difference between deliberately killing a human being who has been born and deliberately killing a human being who is still inside his mother (). Abortion has become morally acceptable to some simply because it is currently legal. Legality does not necessarily imply morality. Slavery was once legal in the United States, even though it clearly was not moral. The taking of an innocent, defenseless human life is unacceptable and morally wrong. Killing innocent people is immoral and illegal in the United States; therefore, to be consistent, abortion should also be illegal. The moral aspects of abortion are clear. It is time for society to truly consider what it is doing to other humans.


Abortion is a horrible atrocity that should be illegal unless the mothers life is endangered by the pregnancy. Unborn babies need to be recognized as persons. The right to life that everyone takes for granted should be extended to the unborn. As long as the law reflects the pro-choice view, unborn babies will continue to be murdered. The laws need to be changed; babies lives are depending on it.


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4-H, More ten you ever imagined

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4-H.... More Than You Ever Imagined


How many kids do you know would do things if they werent fun? Lets say, for instance, baking dozens of cookies, tilling the earth for planting seeds, milking a dairy cow, or cleaning-up after a county event, just to name a few. Does this sound like fun, as in F-U-N, to you? I bet that you would agree that I must have stepped off the planet Mars to think all the mentioned chores can actually be fun!


The real scoop is that there is a program more fun that you ever imagined it to be. And we all know that kids wouldnt do things if they werent fun. This program is called 4-H. While learning is cool, learning and having fun at the same time is awesome! Newsweek Magazine’s November 000 issue addressing the activities desired by today’s youth, found that an abundance of people believe you have to live on a farm, in the country, or own an animal to be in 4-H. The truth is, anybody can belong.


So, exactly, what is 4H? 4-H is the name of a program for school-aged children, youth, and teens conducted by Kansas State Research and Extension. Each leaf on the clover represents one of the four ways kids grow and develop in 4-H. The goal is to help families and communities in raising future adults who will care and contribute positively to society as parents, workers, and citizens. In 4-H, young people gain knowledge about their projects, about working in groups and about themselves.


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Lets start with the National 4-H symbol. The first H is for HEAD which represents the knowledge a young person needs to have to be a successful adult.


The second H stands for HEART. The second of the four-fold developmental process of 4-H stresses a strong sense of feeling about what is right and wrong. It means practicing positive self-discipline, as well as looking for and doing service projects.


The third H stands for HANDS, because 4-H believes that you learn best when you actively participate in the learning. 4-H is hands-on learning. 4-H can happen anywhere because sometimes the best place to learn is in the middle of a field, in the kitchen, or with your dog in the backyard.


Finally, 4-H has always stressed that you cant be a complete kid without an understanding and practice of healthy habits. Thus, the fourth H stands for HEALTH.


This emblem is still protected by Congress from commercial or unauthorized use.


The 4-H symbol circles the globe and represents similar programs in more than 80 countries. A survey by Youth International Headquarters, based in Washington, DC and published in US News and World Report, December 000, listed 4-H as having 5.1 million school-aged members 7 - 1 years of age. While the international 4-H emblems may be slightly varied, the goals behind the program remains the same.


To get a clearer understanding of what each of the 4-Hs represent, lets look at some of the activities members are involved with throughout the year.


· Camps


· Judging


· Tours


County camp is a classroom without walls. The camp setting is ideal for helping 4-H members experience life skills, developing expertise in project areas, and having FUN. All counties in Kansas have camping programs. The headquarters are at Rocks Springs Ranch located just outside Junction City. This camp, held sometime in June or July, is for members 7 through 1 years of age.


A second activity is judging. Judging is learning to set and recognize standards of quality. Such standards are needed to make impartial judgments.


The third activity is tours. Tours or field trips are a vivid way to share good ideas by seeing them in real life situations. A field trip related either to a project area or to a subject of general interest widens the boundaries of knowledge of a 4-H member. This summer over ,500 youth, including myself, have been selected to participate in the Citizenship Washington Focus Conference where we will meet with legislators in helping us to understand the procedures of our government.


At the beginning of each 4-H year, members complete an enrollment card listing the projects they would like participate in. Projects are learning experiences designed for members to help them learn, make, or do something. There are hundreds of things to make and do in the projects offered in the August 000 edition of the Kansas 4-H Journal. Some of these project categories are


· Beef Dairy Goats Horse Sheep Swine


· Clothing & Textiles Foods and Nutrition Crafts


· Citizenship Leadership Plant Science Rocketry


· Wildlife Woodworking


The hard work that goes into all these projects can be seen on display at the county fair each summer. A judge decides how our work in each project has been accomplished. It is also a time to meet new friends, reacquaint ourselves with old friends and have the time of our lives. There is nothing that quite matches the excitement of participating in the county fair each year. We accumulate many great memories as we participate and do our best.


4-H’ers who receive top awards at county competition may exhibit in the 4-H division at the State Fair in Hutchinson. The minimum age for competition at this level is 10. My favorite projects for the nine years that I have been a part of the 4-H program is sheep. Not only have I participated successfully in local and state competition, but in the American Royal Sheep Show, as well.


The roots of Kansas Extension 4-H youth programs stretch back years and it would never have been so successful if it were not for the volunteer 4-H leaders who organize and run clubs, project groups and other special interest programs throughout the year. In communities across the state, teams of professional Extension educators along with local volunteers have lead thousands of young Kansans to....


· Feel and appreciate a concern for their communities, country, and world


· Foster healthy interpersonal relationships


· Make better, informed decisions


· Develop inquiring minds


· And feel positive about themselves in lifes varying circumstances.


Now that you have some knowledge of what 4-H is, let’s talk about how easy it is to join. Call your county extension agent. They can direct you to many local clubs that would love to welcome you as a member. Meetings are held once a month with the year beginning on October 1 and running through September 0, but new members are welcome to join at any time.


You will want to be a part of the action, too! Now, isn’t 4-H more that you ever imagined?





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Thursday, September 22, 2011

Allen Ginsberg

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The often explicit and always vivid writings of Allen Ginsberg seemed to stem from his own life. Allen’s childhood in the city, political issues of the times, and the trials of understanding the vast psychology of human beings often emerged. His mother, Naomi Ginsberg, frequently tended to appear as topic or subject matter in Allen’s work as well. His writing would describe her life, her beliefs, and her mental misfortune, how they affected him, and how his own experiences compared. The course vocabulary and graphic descriptions Allen used would emulate the harsh reality of the time in which he lived. Ginsberg recreated his life, his family, his urban upbringing, and the way his world unfolded in his poetry.


Son to Communist Russian immigrants, Allen Ginsberg grew up in urban Newark and Manhattan, and his writings reflected such an up bringing. In his poem “America” Allen expressed his thoughts and retrospectively looked at his life, “America I used to be communist when I was a kid I am not sorry.” Ginsberg often used his urban environment as settings in his work, “Who coughed on the sixth floor of Harlem crowned with flame under the tubercular sky,” he depicted in his poem “Howl.” “Moloch whose smokestacks and antennae crown the cities,” he continued. With picturesque narrations and metropolitan situations in “Mugging,” Ginsberg wrote, “Along E. 10th’s glass splattered pavement, kid blacks & Spanish oiled hair adolescents crowded house fronts.” Ginsberg used these urban settings in his writings, introspective to the life he led and the times he grew up during.


“Go fuck yourself with your atom bomb,” Ginsberg exploded in “America” at the actions of the government of his time. Allen wrote, in dissatisfaction, of politicals during the 140s and 150s. “Who burned cigarette holes in their arms protesting the narcotic tobacco haze of Capitalism,” he wrote in “Howl.” Later in his life he wrote a poem titled, “Anti-Vietnam War Peace Mobilization,” in which he expressed anti-war protest, “Assembled before White House filled with mustached Germans & police buttons.” Allen appeared to have issues with political events and government actions taken during his life, as he wrote of Nixon and Roosevelt, Hitler and Communism.


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One of the most visible aspects in his writing is the presence of his mother. “Kaddish” was for Naomi. It captured her as Allen grew up seeing her, images of her coming to America, and slowly descending into madness. “Where you walked 50 years ago, little girl � from Russia, eating the first poisonous tomatoes of America � frightened on the dock,” Allen spoke of life when his mother first immigrated to New York. He wrote of the sad and demanding times while she was in and out of mental institutions, “Don’t be afraid of me because I’m just coming home from a mental hospital � I’m your mother.” He captured something endearing even as his mother struggled, “Once locked herself in with razor or iodine � could hear her cough in tears at sink.” Allen also used extremely vivid imagery to tell of Naomi’s horrible condition, “Convulsions and red vomit coming out of her mouth � diarrhea water exploding from her behind.” His writing painted very understandable pictures of his mother and portrayed his and her life, suffering through those times.


Allen Ginsberg’s life seemed to be the muse for his creativity. He wrote of his mother and family, of being mugged, and of events that happened in the world around him. The urban settings in his writing reflected his own settings for the duration of his life, living in Newark, Manhattan, and San Francisco. Ginsberg’s work held nothing back, was real, and painted life as it often is, ugly and imperfect. Allen’s writing was his life.





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Wednesday, September 21, 2011

Effective business writing

Here’s the rule: most company men and women have modest experience with business writing. Even though men and women with business degrees possibly did a bit of business writing in school, it’s rarely stressed in business programs, and learning business writing is hardly the driving force behind most people’s demands to go to business school. Those with out a university background may had been pushed to business writing in no way at all, at least because public school. However, today’s company globe is practically entirely information-driven. Whether you run an organization or occupy a modest corner during the org-chart at a massive multinational corporation, you need to learn business writing which is the bulk of the career of communicating with others, most always during the business writing form. Of course there’s email as well as the traditional company letter, but most business men and women also must write presentations, proposals, memos, training materials, business requirements, grant proposals, promotional copy, including a wide amount of other business writing documents.



If you’re 1 of the group of men and women in company for whom business writing has in no way been a major concern, you should know that a lack of business writing skills is often a greater and greater handicap with every passing year. Spending some time to improve your business writing can trigger a marked improvement in your hireability and promotional prospects. There’s no substitute for business writing practice, but right here are many pointers to put you on a appropriate track. Excellent business writing may need a talent that few of us really have, but powerful business writing is often a learnable skill. If your business writing isn’t as much as snuff, follow the tips see in case you can’t improve it. If your writing does pass muster, how about leaving a tip or 2 of business writing?

Thursday, September 15, 2011

The Lake

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The Lake


By BJ Pollard


The cool winter’s wind chilled the back of my neck as I walked down the long and narrow straight of the road. It was one of those days with blue sky and the sun shining however the chill of the wind made for an unbearable draught. I was on my way seeking a lake in which I had been told was beautiful beyond all measures. According to my map I should’ve be nearing the final corner at which I should finally see what I had walked 15 kilometres for, the lake.


As I came closer I managed to try and sneak a peek of the lake through the mangle of bush and gum trees either side of me down the rocky gravel road. My legs were at the point of feeling jelly inside like someone had sucked the blood out of them and they were just walking on instinct. I finally got to the corner, this was it. As soon as I turned this corner I would see the lake. I stoped for a moment to imagine what it would look like, I have no imagination so it was almost impossible for me to pretend what it was like. I took the steps that got me around the corner. Then suddenly I was hit by it. It was like a whole new world opened up for me, the most beautiful thing I had ever seen in my life. The shrubs and gums either side of disappeared and moved into an opening of the most beautiful grass imaginable with only a few of the most delicate trees around. I walked in further to where the lake was. As I did I was reminded at how cold it still was so I zipped my leather jacket up all the way to the top and folded my collar over my neck.


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I looked at the surface of the lake, the wind was whipping lightly over it causing the lake to have ripples. Its colour was deep tropical blue, the kind of ocean blue you see in brochures of Hawaii. Its colour went from the edges all the way to the centre of the lake. I decided to sit down on the decadent grass for a while to admire the view. I noticed that there where fragile looking trees around the edges of the lake, everything looked all too sacred. As time went by I realised one peculiar thing. This lake and its surroundings had no wildlife. I hadn’t heard a bird at all, it was strange but none the less it made the surroundings very quite. It was as if the lake had its own personality. It was a person in its self, full of many different levels. You could sit and look all day at it.


I decided it was time to enter the lake, take the plunge and go for a swim. It was cold and I was having second thoughts but I would regret it later if I didn’t at least step into the lake. So I took most of my clothes of ready to enter the lake, I could feel the blistering cold wind against my chest it was unbearably cold. I quickly rushed into the lake, first with my feet to test the water. I realise how warm and pleasurable it was compared to the outside. I decided to move further into the lake to shelter myself from the cold, eventually my whole body was submerged in water. I could feel its relatively warm wetness press against the pores of my skin. It was amazing, it was true that this lake was the best thing I had ever experienced. I wanted to stay with it forever.


The wind started to pick up, the whipping ripples of the lake turned into waves, there was an eerie feeling about what was happening. Suddenly out of nowhere clouds mustered about in the blue sky. Dark grey clouds that looked like it was becoming night. Then came the clapping thunder, torrential rain and the spectacular lightning all at once. It came down so heavy I couldn’t see anything. All of the beauty was been destroyed. I looked down to see the lake becoming all brown and murky. It was unbelievable. I was rushing to get out of the lake, my arms moving frantically. The weather turned nastier and the wind started howling like a wolf. I was beyond scared now. I was trying to leave, get out of the lake, go home. But something was pulling me back, something large green and slimy. It was huge, not of human form but it was alive. It was like vicious seaweed pulling me away. The sound of my scream echoed loudly over the countryside but there wasn’t a person in sight to help. I was getting pulled further and further down until I couldn’t breathe. I was drowning in this beautiful lake. I took my final gasp for air as I was pulled into the lake. Choking in the water I finally ran out of breath, I was going to die. Before my eyes closed forever I took one final look down into the bottom on the lake. I saw things so gross and unnatural, evil things that people could only dream of. I was taken away by this monster, drowning in the lake that at first looked like a diamond but what now looked like mud.


“ Don’t judge a book by its cover” is a great rule to follow. This story was dedicated to a girl who taught me this lesson.





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Tuesday, September 13, 2011

the world of art

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Sunday, September 11, 2011

surrealism vs. Realism -chalenging the boundries

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Realism has become the dominant theatre form in western culture. This obsession to present real life on stage has reached an extreme with the introduction and huge popularity of reality television.


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Realism has reached plague proportions in the western world over the last few years, with the explosion of television shows such as “Home and Away” and “Neighbours” and more recently with the “Big Brother” phenomena where Realism TV is taken to new lows. These shows and many more are a form of drama that involves real life scenarios. When this form of drama first became popular, it sparked a craze because its audience believed it to be new and exciting. Audiences could not get enough of the so called real life drama; this type of drama shows us cameos of people’s lives often in the mundane suburban setting. Audiences could relate to the characters and the situations they find themselves in, ironically the way that many people relate to these real life dramas is in itself a kind of Surrealism with the audience getting caught up in the lives and tribulations of fictional characters. I am sure many of you have experienced friends rushing home to catch the next instalment of what Sara is going to say to the cheating Robert or discussing why Lucy lost her baby over lunch.


Surrealism comes from the French word sur meaning “on or above”. Therefore Surrealism translates to ‘above reality or a heightened reality’. Where realists try to create the most realistic scenario possible, surrealists aim to create a sense of being “over-the-top”. Surrealists also attempt to dissect reality, and were interested in the illogical association of ideas. For example, they tried to make people look at things in a new way, and they want to undercut expectations. Simultaneity is also important to the surrealistic way of thinking. Through out their plays different things happened at once for example; two different scenes could occur on stage at the same time and things are continually changing. Dreams are an important part of Surrealism with many of the plays having dream like qualities such as opposite ideas justapositioned against one another or illogical conclusions being drawn.


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A Surreal play can be characterised by its representation of some of the following features


o Larger than life imagery


o Grotesque or violent encounters


o In your face visual images


o Puppets, native rituals (such as Punch and Judy)


o The use of language to achieve an end


o The destruction of language


o Concerned with dreams


Surrealism tries to explode life or make it bigger


o It seeks to Stimulates us while discovering the most profound psychological ‘truths’


o Surrealist play-writes attempts to unearth the ‘truth’


o They Attempt to liberate humanity from civilisation and all its rationalisms.


o Also Surrealism explores the outer reaches of sanity (it’s primarily interested in the insane).


o Surrealists ask, just how ‘realistic’ can Realism hope to be in the first place?


Lets face it Realism is just plain boring, we deal with it every day. If Realism T.V shows were really true to life they would have hours and hour of nothing much happening, Kids doing homework, Mum doing the washing. Realism attempts to portray the everyday in an interesting way. Surrealism on the other hand attempts to understand and dissect the everyday by looking at the bizarre or exploring the meaning behind the surface. For example in Louis Nowera Surrealistic play ‘Cosi’ we are challenged to look behind the surface of sanity verses insanity and ask just how to tell the difference or indeed if there are any differences or if being human means there are just different degrees of insanity in all of us.


Fundamentally Surrealism can help us to understand our everyday Realism by challenging our beliefs, taking our intellect to different heights, assaulting our senses in otherworlds moving us beyond the square, whereas Realism is safe, unchallenging, unchanging , it is comfortable because we do not have to think about it we can just except it in a kind of inertia.





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Friday, September 9, 2011

ARTISTS INTERPRETATIONS OF THE WORLD SHAPED BY THEIR BELIEFS

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Spirituality and art are part of the human need to express emotion and to communicate this to other human beings. Yet often our understanding of an artwork might only be possible or of more value if we know the context, the emotional or the spiritual environment surrounding the artist. Religion results from faith � it involves a community of shared beliefs, ritual and introspection. Faith is a personal perspective on life. So too is art. The artist’s interpretations of the world are therefore shaped by their beliefs; this can be seen through Michelangelo Buonarroti figurative Last Judgment 154-1541, Mark Rothko’s non-representational Light Red over Black 157, Rover Thomas’s contemporary Aboriginal work Burradoo (Meeting Area) 14 and Annette Messeger’s Post- modern Le Croix 14.


When Christianity was illegal in Rome the painting in the Catacombs had to use symbols to convey messages to the audience. After Christianity was legalised in 1 A.D. symbols were not needed, however the idea of depicting a narrative to audiences was carried on. So when Michelangelo was commissioned to paint the ceiling and alter wall of the Sistine Chapel, it isn’t surprising that the images depicted were reminiscent of the bible stories. However when Michelangelo was asked or rather told to paint the altar wall, he was ‘enduring the tribulations of age and the long frustrations of art, his soul was further oppressed by the events that had been erupting around him from the time he fled Florence as a young man…Michelangelo felt himself an exile’ he had ‘turned from his Humanist beginnings to a deep religious preoccupation with the fate of man and of his own soul. His sense that the world had gone mad and that man forsaking God was doomed, must have been sharpened by his still vivid memory of Savonarola’s foreboding summons of sinners to repent and by his very close reading of Dante.’ Michelangelo did not want to paint the fresco but was made to. His personal and national context did not help the situation, and is most likely the explanation for the incredibly graphic depiction of the last Judgment, in which sinners and repenters are separated and delegated to the appropriate area. When the work was revealed it was highly ‘criticized for the nudity of many of its figures and for its supposed inaccuracies’ . These supposed inaccuracies however were Michelangelo’s deeply spiritual beliefs of how he thought the last judgment would look. The only reason he was criticised was because the previous depictions of the last judgment were very different. His beliefs therefore shaped his interpretation of the last judgment, in the Last Judgment 154-1541.


Mark Rothko’s art came directly from his experiences. His parents moved from his birthplace in Russia when he was ten and he grew up in Oregon with vast expanses of open space around him; seemingly endless space, which put his own existence into the perspective of being almost meaningless. He employed rectangular blocks of colour to convey the space � evoking effects of colour.


“Like the paintings of many Jewish artists, Rothko’s may well contain a covert image of the invisible God of whom the religion forbade images to be made” .


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The painting Light Red over Black 157 shows how Rothko used powerful colour and simple forms to emphasise the overwhelming quality of the artwork for the viewer. The large dimensions of his work were explained by Rothko “I want to be very intimate and human. To paint a small picture is to place yourself outside your experience…However you paint the larger picture, you are in it.”


During the 140’s Rothko’s images became more and more symbolic. He found the use of figures in his work less satisfying � reflecting the tragedy of the human condition around him in the aftermath of world war two.


The US government encouraged the American Abstract Expressionism movement of which Rothko was a part as it was seen to be a reflection of a new era � American cultural freedom as opposed to the old order of Europe � particularly the state oppressed artworks of Soviet Russia. These circumstances allowed artists like Rothko to flourish. So although his own Spiritualism was moving him towards his large emotive artworks � The political and social environment was also ready for his art. The spiritual was a source of inspiration for Rothko. ‘I’m interested only in expressing basic human emotions � tragedy, ecstasy, doom and so on � the people who weep before my pictures are having the same religious experience I had when I painted them”. Rothko abandoned images entirely in the late 140’s and until his death in 170 continued to produce non-representational paintings using paint, colour, shape and size to communicate emotion and mood.


Rover Thomas is a highly regarded contemporary Aboriginal artist. He captures the spirit of the East Kimberley region with noticeable ‘simplicity’, in a topographical and spiritual sense. Whilst referring to local land sites he also incorporates heavy spiritual values common with most Aboriginal artworks. He paints areas of the landscape that have deeply spiritual and mythological significance to the land stories. His life has been spent moving and settling around the Kimberley region, the landscape and stories all having tremendous impact on his artmaking. ‘Thomas is primarily concerned with the inherent spirituality of the landscape. To this extent his paintings are both literal and metaphysical � the compositions depicting specific physical locations while also being vitally concerned with the essentially spiritual associations that provide these locations with their most profound significance. As once commentator has observed, for Thomas the landscape is embued with mythological power � and painting is an act or homage to this power’


Burradoo (Meeting Area) 14 depicts a large ochre painting of a place on Lissadell Station that Thomas remembers from his younger years. ‘Rover Thomas’s paintings flow instinctually from the earth and evoke a universal resonance � they are works which usually have their origin in specific sites and regions but which invariably transcend their boundaries, communicating with the viewer in ways that are profound and intangible.’


Rover Thomas communicates his interpretation of the world around him through his beliefs of the land and his experiences through that land.


Annette Messeger, like Rover Thomas uses memories of childhood, feminine stereotypes and traditional religious images in her artmaking. Her distinctive style is often ‘unsettling’ to the viewer and has a surreal quality. In Le Croix 14 Messenger brings her own thoughts and background to the work ‘My work is the work of a French Catholic woman’ In Le Croix 14 a number of felt body organs are hung from a simple wooden cross. A large heart, a spine and other unrecognisable shapes make up this colourful group of shapes. They look a little na├»ve but they are also a bit ghoulish.


Messeger often used craft skills in making her art works as a way of connecting with stereotypical feminine pursuits. ‘Annette Messeger fragments representations of the female body in an effort to show the impossibility of presenting a universalised feminine experience.’


The body of Christ in this work has neither male nor female form � in this way Messeger has used her work to address an issue that is very close to her. That is the question that Are we capable of a spiritual life beyond our bodies or are we just ‘a carcass that can be dissected and hung like meat?’


Annette Messeger uses her strong feminist beliefs to shape the way she interprets our world. By combining this with her deeply religious background, her works explore very spiritual themes.


All of these artworks are examples of how artists combine their individual life influences and their beliefs into their artmaking. Through this they are able to interpret and represent the world.





Arnason, H.H; Prather, Marla F A History of Modern Art 186


Thames and Hudson, London


De la Croix, Tansey, Kirkpatrick Art Though the Ages 11


Harcourt Brace and Company, New York


Hughes, Robert American Visions 17


Harrill, London


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