By Bob Carrau
Probably the most strange monsters & extraterrestrial beings ever obvious populate the movies of George Lucas, writer of the celebrity Wars trilogy. listed below are photographs & descriptions of a never-before-assembled workforce of Lucas eeriest strangelings & other-worldly beings. occasionally attractive, occasionally frightening, & frequently hilarious, the 31 full-color photos provided during this ebook are drawn from work of creatures obvious in Lucasfilm videos, artists renderings of oddballs now not but equipped, movie stills, & photographs.
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Additional resources for Monsters & Aliens From George Lucas
Our intrapersonal and interpersonal experiences of the arts—â•‰our individual and shared feeling and thinking; our teaching and learning; everything we conceptualize, do, or desire—â•‰stem from our status as beings who possess, undergo, enact, and “perform” our individual and collective personhood(s) (Elliott & Silverman, 2015). Artistic actions and interactions are fundamental to the creation of our individual and collective human identities. The arts are made by and for people, living in real worlds involving conflicts large and small.
Taking Robert Kennedy’s epic 2-day trek across eastern Kentucky in 1968 as inspiration, Malpede developed a 4-day, 200-mile performance event that involved performance artists, visual art installations, in-depth political discussions of historic and current events and social policy issues, and hundreds of local cast members—as well as close collaborations with fellow artistic citizens Henriëtte Brouwers, David Michalek, Harrell Fletcher, and Sjoerd Wagenaar. Malpede explains: Like the original tour, RFK in EKY focuses attention on the indigenous expertise and alternative visions of Appalachia … The 48 hour performance recreated all aspects of Kennedy’s tour, including two official hearings of the Senate Subcommittee on Employment, Manpower and Poverty (held at Vortex and Fleming-Neon), roadside visits with individual families, walking tours of small communities and strip mine sites, stops at one-room schoolhouses, and speeches at courthouses and colleges.
At first glance, “artistic citizenship” may seem like an oxymoron (Elliott, 2012; Schmidt Campbell & Martin, 2006). However, the opposition between artistry and citizenship is apparent only if connected to the unfortunate semantic baggage of the 18th-â•‰century notions about artistry mentioned earlier—â•‰aesthetic, “fine art” or “work-â•‰centered” concepts of artistry, in which “true” art and “true 8 8 F ou n d a t i o n a l C o n s i d e r a t i o n s artists” supposedly disavow practical, civic, or political purposes.