英国赫福郡大学论文代写：视觉艺术

英国赫福郡大学论文代写：视觉艺术

英国的红色电话亭和蓝色的大公鸡是视觉艺术的典范。视觉艺术是主要吸引观众的视觉方面（januchta Szostak，2010）。在视觉艺术中，这些艺术形式被迈尔斯称为公共艺术，（1997）。公共艺术是建立在公共领域（在这种情况下，城市景观），留给公众的解释和接受。这种公共艺术形式以前有不同的名称，在一些共同点上有共同的定义，如表演艺术、概念艺术或社区艺术。这种艺术一直致力于吸引公众。上述两种艺术形式确实吸引了公众，因为他们都被视为后现代都市都市场景的代表。在城市景观中过时的元素是在红色电话亭中出现的艺术主题，而在大蓝公鸡的情况下，它是一种联合国情境，导致多重含义与之相关。
红色的电话亭和蓝色的大公鸡都是公共艺术。它们是在一个公共的城市空间中创建的，供人们查看、接收和讨论。这两种艺术形式都有不同的意义。在电话亭的背景下，听众的片段连接到他们自己的过去，对他们来说，这是一种纪念性的艺术，对于现在的年轻人来说，它具有不同的意义，对孩子们来说，它甚至可能具有古老的含义。另一方面，蓝色大公鸡招致批评和参与。因此，两种艺术形式都在邀请公共参与，在其所处的社会中，在空间中建构了它们的意义，支持了艺术的意义受到其存在空间的影响的假设。

英国赫福郡大学论文代写：视觉艺术

Britain’s Red Phone Box and the Big Blue Cock are examples of visual art. Visual art is that which primarily draws an audience in terms of the visual sense (Januchta-Szostak, 2010). In visual art, these art forms are what are called as public art by Miles, (1997). Public art is constructed in a public domain (in this case an urban landscape) and is left for the interpretation and reception of a public audience. This form of public art has gone by different names before, intersecting at some points in a common definition, such as performance art, conceptual art or community-based art. Such art has always focused on engaging the public. The above two art forms do engage the public as both of them are seen to be representative of the post-modern metropolitan urban scene. The elements that became obsolete in the urban landscape is the theme presented as art in the Red Phone Box and in the case of the Big Blue Cock, it is the un-situated context which leads to a multiple meanings being associated with it.
Both the Red Phone Box and the Big Blue Cock are public art. They are created in a public urban space for people to view them, receive them and discuss them. Here different meanings are constructed for both the art forms. In the context of the Phone Box, sections of audience connect back to their very own past and for them it is commemorative art, for the current youth it holds a different meaning and for the children it might even hold archaic meanings. The Big Blue Cock on the other hand invites criticism and participation. Both art forms hence in inviting public engagement, have their meanings constructed in the space, by the society in which they are installed, supporting the hypothesis that the meaning of art is influenced by the space in which it is present.