User:Muayad Alqahtani/Avis Collins Robinson

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Introduction

In a nutshell, it is clear that the piece of art simply represents an Olmec sculpture made of local limestone. Generally the Olmec were the first vital civilization in Mexico; they basically occupied the tropical lowlands on the Gulf of Mexico. Basically, this culture derived its epic scoop from the unification of a specific style. By taking a look at the picture, it is basically clear that the piece of art was crafted generally in a variety of materials that comprised; jade, clay, basalt, as well as greenstone, which is an archaeologist's term for carved, green-colored minerals much Olmec art is naturalistic. Considering this description, it is clear that the material used to create this piece of art was very creative.

This piece of art played an important role in expressing anthropomorphic creatures that had fantastic human like features that were in most cases highly stylized. This piece of art was created using an iconography reflective of a religious meaning. As if that is not enough, this piece of art comprised of a face that is facing up probably this could be simplifying various religious aspects of this piece of art. This art basically left behind by this culture are the Olmec colossal extremely large heads. Generally this is basically a seventeen monumental pieces of limestone stone that represents a person who is sited down with the head facing up. The heads date from at least before 900 BCE and are generally a very distinctive feature of the civilization of the Olmec. This piece of art basically plays an important role in portraying the kind of men who are mature and also have fleshy cheeks, flat noses, as well as eyes that are slightly crossed. On the other hand, none of the heads are alike, and each simply contains a unique headdress, that simply means or generally insinuates that they represent certain person.

According to content covered in class, it is basically true that The Olmec imported these boulders from the Sierra de los Tuxtlas Mountains that are located in Veracruz. Given that the extremely large slabs of stone used in their production were transported over large distances, requiring a great deal of human effort and resources, moreover, it is generally considered that this amazing piece of  monument represent portraits of powerful individual Olmec rulers, maybe carved or crafted to commemorate or rather celebrate their deaths.

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This piece of art basically plays an extremely vital role in representing a concrete mixture of both human as well as animal traits, with features such as a upper lip that is flaring, feline mouth with down-turned low corners, as well as eyebrows that are basically ‘flaming’. The body of this piece of art is basically naked and with no vital indication or rather suggestion of any specific gender. Basically the monuments are facing up with their hands folded and their legs folded as well. The head of the art does not look like the head of a normal human being and this basically makes this piece of art not that typical human being that a person may relate. Moreover, despite the fact that the art looks like a human being and at the same time an animal, it basically does not have any race, it is neither black or white, rather, it is grey in color nor this makes it evident that the artists behind this craft did not consider the gender. By the close look at the picture, it is clear that various sections of the body were created separately and then joined together at a later stage when the joint parts were all complete. The finished product was thereafter covered by a thick whitish slip after which it was beautifully  polished to am appearance that is lustrous. Red cinnabar or haematite powder was often applied to highlight symbolic details or features incised on the figures. For this reason it is basically clear that the artists behind this piece of art really applied creativity in making sure that they came up with a piece of art that was with no doubt a great representation of theOlmec culture as well as its entire rich diversity.

How the piece fits into the Non-western Art and Artifacts

Facial representations of this piece of art were penetrated into the stone (utilizing reeds and wet sand) with the goal that unmistakable highlights, for example, the eyes, mouth, and nostrils have genuine profundity. Some likewise have purposely bored dimples on the cheeks, jaw, and lips. The heads all showcase novel facial highlights - frequently in a naturalistic and expressive way - with the goal that they might be viewed as representations of real rulers. The researcher M.E. Mill operator recognizes Colossal Head 5, for instance, as a second-millenium BCE leader of San Lorenzo. In spite of the fact that the physionomy of the figures has offered ascend to unwarranted theory of contact with human advancements from Africa, indeed, the physical highlights regular to the heads are still observed today in occupants of the cutting edge Mexican urban areas of Tabasco and Veracruz. The subject frequently wears a defensive head protector which was worn by the Olmec in fight and during the Mesoamerican ballgame. These can fluctuate in structure and design and at times the subject additionally has puma paws hanging over the temple, maybe speaking to a panther pelt worn as an image of political and strict force, a typical relationship in numerous Mesoamerican societies. Enormous Head 1 from La Venta, rather, has immense claws cut on the facade of the cap, (Cartwright, 2014)

Just as discussed above in a peculiar and meticulous way, it is basically clear that this piece of art was strategically crafted by artists who were very strategic as well as talented in what they were doing. Using limestone as well as other material, they came up with step by step artistic strategies of coming up with this significant piece of art just as categorically elaborated above.

Brought into the world in Baltimore, Robinson was instructed at the College of Maryland and Harvard College. Her profession as a craftsman was dispatched when her blended media picture of Abraham Lincoln was chosen, after a cross country search, as the single famous picture of the best American president to be forever introduced in the recently redesigned entrance campaign of Passage's Performance center in Washington, the Public Notable Site where Lincoln was killed. In 2016, alongside individual specialists like Jeff Koons, Joel Shapiro and Carrie Mae Weems, she was named to the Establishment for Craftsmanship and Safeguarding in International safe havens' "30 for 30" rundown of driving craftsmen in the US. Her enormous and great texture piece, Piano Keys, is forever introduced in the taking off hall of the U.S. Mission to the Assembled Countries in New York. Astounding Banner, another texture work, hangs at the U.S. International safe haven in Moscow. Her stupendous artwork of African American laborers laying brickwork for a structure at Claflin College, a generally dark college in Orangeburg, S.C., hangs in Claflin's organization building. In 2013 and 2017, she was given one-lady shows of both texture works and allegorical artworks by the Studios of Key West. Her work of art of social liberties pioneer Vivian Malone as she coordinated the College of Alabama has been appeared at the Public Exhibition hall of Ladies in Human expressions in Washington, D.C. Robinson has been addressed by Craig F. Starr Exhibition since 2020. Her introduction show will highlight a choice of fiber works and is presently being developed.

painting as of late gave to Claflin College by Washington Post partnered editorialist and Pulitzer Prize champ Eugene Robinson and his significant other, Avis Collins Robinson, features two phenomenal inheritances established in Orangeburg that have been associated longer than anybody can review. One is the tradition of Claflin College, which was established in 1869 as the primary school/college in South Carolina to make its ways for all understudies paying little mind to race, class or sexual orientation. Claflin has risen above its unobtrusive beginnings and is currently perceived as one of the country's chief aesthetic sciences colleges and for creating graduates who are locked in visionary pioneers with worldwide viewpoints. Eugene Robinson is a local of Orangeburg and his mom, the late Louisa S. Robinson, worked at Claflin for over 45 years. For over 31 years, she was the college's head administrator. She was instrumental in the arranging and working of the H.V. Monitoring Library nearby. After the library was redesigned in 2003, a segment of its fundamental floor was named in her honor.His father, Harold, was additionally utilized at Claflin before he opened an office of the Government managed retirement Organization in Orangeburg. Robinson's sister, Ellen (Ricoma), has been an assistant educator in Claflin's Institute of Business, and she by and by fills in as chief for the MBA program at South Carolina State.

The Robinsons' irrefutable inheritance as instructors, history specialists, community workers and visionary pioneers keeps on reverberating all through Orangeburg and past.

The representation, "Alonzo Smith, Foreman, Dark Bricklayer Building Claflin," was disclosed during a unique function as of late in Tingley Corridor. Collins Robinson painted the picture that gives extra affirmation of the association among Claflin and the Robinson family. Her motivation for the artistic creation was a photo of Smith and a team of men laying block for the establishment of a structure being based on Claflin's grounds. Smith was Robinson's distant uncle. Claflin President Henry N. Tisdale accepts the photo was conceivably taken somewhere in the range of 1910 and 1920."Claflin was known for block making during that time so the blocks might have been terminated in the ovens by Claflin understudies," Tisdale said. "These men might have been laying blocks for Tingley Lobby or Pastors Corridor. The two structures are situated in Claflin's Architecturally significant area as assigned by the South Carolina Division of Files and History." Collins Robinson's craft honors the age of dark Americans who persisted notwithstanding the outrages of the Jim Crow time and now commend the country's groundbreaking excursion to the appointment of Barack Obama as the primary dark president. She is certifiably not an expertly prepared craftsman. Collins Robinson is a Harvard-instructed market analyst and previous appointee overseer of the Workplace of Climatic Projects at the Ecological Insurance Office. She took up painting not exactly 10 years prior.

"I'm in tears," Collins Robinson said in an instant message subsequent to becoming aware of the uncovering. "I'm glad to such an extent that this work of art is in plain view at Claflin, the home for so numerous excellent, gifted and pleased dark ancestors."The Robinsons couldn't go to the revealing because of different responsibilities.

Collins Robinson has delivered different canvases, and her subjects incorporate families, workers and notable things from the dim long stretches of subjugation and Michelle and Barack Obama. Her charged representation of Abraham Lincoln, which coordinates classical blankets and broadcloth with acrylic paint, has been in plain view in the Passage's Venue entryway since February 2009, when the venue returned for the bicentennial of Lincoln's birth."We significantly like the Robinsons giving this work of art to Claflin," Tisdale said. "It's an eminent piece of craftsmanship and it recounts an anecdote about our set of experiences. This artwork portrays a significant period in Claflin's set of experiences. Structures raised on the grounds during this time were planned by William Cooke, a pioneer African-American planner and Claflin former student. He was additionally a teacher of building and mechanical drawing at Claflin."The size of the picture (8 feet by 5 feet) is sure to pull in the consideration of guests to Tingley Corridor, notwithstanding the vivid pictures of the men with their serious and deliberate articulations. Collins Robinson's utilization of water-based paint and texture adds to the uniqueness of the fine art, which has an expected worth of $100,000. It's an invited expansion to noteworthy Tingley Lobby and Claflin College," said Marilyn Gibbs Drayton, head administrator at Claflin, who worked with Tisdale and the Robinsons to carry the composition to Claflin. "It truly shows the associations between Claflin, the Smiths and the Robinson families.