Colorado Technical Health and Medical Issues Access to Healthcare Services Paper Nurses have to be knowledgeable consumers of information. Therefore, it is

Colorado Technical Health and Medical Issues Access to Healthcare Services Paper Nurses have to be knowledgeable consumers of information. Therefore, it is important to critically evaluate messages presented in the media and understand whose interests are being represented.

For this assignment, you will choose a health care issue and examine 2 different positions.

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Complete the following:

Compare and contrast the coverage of the issue.
Consider who is reporting the issue and how is the issue being covered.
Was the message effective?
Was it accurate?
Support your paper with evidence from at least 5 recent scholarly articles or sources.

Write 5–7 pages, excluding the title and reference pages, following the APA Expectations document for the College of Nursing.

Please click into this APA Style for CTU Students link for help with APA formatting. Use the CTU Writing Style Guide (templates provided) – not the Introductory Writing Style Guide.

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For assistance with your assignment, please use your text, Web resources, and all course materials. Andrea’s Overview of Modern Art
The medium of photography developed not only as a means to record images but also
as an art form in the late nineteenth century. In the late nineteenth and early twentieth
century, change was occurring rapidly socially, scientifically and culturally. The
Industrial Revolution provided one of the greatest and fastest transformations in which
an agrarian lifestyle transformed into a predominantly urban one in less than fifty years
both in Europe and in America. The battle between nature and culture foretold by the
Romantics of the early to mid-nineteenth century was no longer a battle but a complete
immersion in culture by the end of the nineteenth century. Those that profited from the
Industrial Revolution became wealthy very quickly and did not give thought to negative
consequences. Severe separations between classes occurred that education could not
or would not be allowed to bridge. Social divisions became more hardened at this time
as groups closed ranks. It is no wonder that Marxism, a social philosophy advocating
the destruction of the capitalist system that fed on the mistreatment of those making
profits possible, the working class, occurs at this time. A sense of alienation marks
Modernism as the men, women and children used in a work force that treated them as
cogs in machines had little or no hope of change or advancement in this system. Labor
needed to be cheap, unskilled and plentiful to reap the maximum profit.
Scientific discoveries such as Maxwell’s theory of the movement of light through space
in waves in the form of particles in 1872 and Einstein’s Theory of Relativity in 1905
changed the perception of reality as a solid and fixed entity. There was a rupture
between, not only an old way of life as a result of the Industrial Revolution, but a
complete breakdown of a sense of solidity in the world with new scientific advances.
The concept of reality had been shaken at its very foundation. Social mores became
the glue that held people of privilege together at the end of the nineteenth century and a
disproportionate amount of attention was afforded to minute details of dress and
comportment to establish a sense of security. Rather than contemplating the totality of
existence that was now becoming unbearably complex and unreal, society began to
turn its gaze upon small facets, and rigidly order them and each other into proper
positions. This was a time of great self-consciousness as those experiencing rapid
changes were attempting to define “Modern Life” and their place within it. Art becomes
important as a symbol of success to the newly moneyed middle class referred to as the
bourgeois by the French; however, artists increasingly find themselves in the service of
this class rather than part of it.
Mirroring the severe separations in society, the art world began to create its own reality,
as did other disciplines. Rather than the type of interdisciplinary thought and activities
that characterized the Renaissance, modern disciplines pulled away from each other
and became more and more insular, each developing a language that was impervious
to those outside the field. This turn inward that characterizes the end of the nineteenth
century is referred to in the art world as reflexivity. Elements of reflexivity have been
discussed in the art of the Baroque and again in the art of the Romantics. A reflexive
Andrea’s Overview of Modern Art
quality is found whenever an art work self-consciously refers in some way to the art or
artist’s world, for example, in the painting La Meninas Velasquez includes himself
behind a large canvas painting the painting. The Romantic painter Goya refers to the
inclusion and to the position of Velasquez in his portrait of the royal family 150 years
later as he tucks himself in the same corner of his painting behind an equally large
canvas. The inclusion of the artist in the painting with the tools of his trade as in Las
Meninas and in the royal portrait by Goya are examples of reflexivity as is Goya’s
reference to another work and artist in the history of art. Art begins not only reference
its own tools but also its own history.
Artists of the late nineteenth century explored the new technology of photography and
delighted in the display of their manipulations of this medium. Photography freed artists
in at least two ways; they were no longer required to keep a record of reality and they
were no longer restricted to traditional methods and notions of creating threedimensional illusions in art. The modern concept of realism in art increasingly develops
into the expression of the artist’s subjective vision and the assertion and articulation of
the elements of the art world. The artist making his own vision subject matter and/or the
elements of art themselves becoming subject matter are reflexive elements and are
major characteristics of modern art, reflecting the art world’s self-examination. The
simple fact that a canvas is flat is part of the expression of Piet Mondrian. He uses a
grid as a structural format in the early twentieth century. Mondrian addresses this in a
treatise he writes on “pure” art.1 He explains that the pure elements of are the vertical
and horizontal axes of the canvas itself and thus this becomes his imagery. The formal
elements of art, those that refer to its form such as the flat surface of a canvas, the fact
that the traditional shape of the canvas is rectangular, color or, that art works are often
produced in an artificial setting such as a studio, are now considered subject matter for
artists. Aspects of the assertion of the flat surface of a canvas exist in art work as early
as the Impressionists in the late nineteenth century. Monet’s painting may appear
atmospheric in reproductions but in actuality have a very thick application of paint, or
impasto. The expression of the qualities of the media used, such as the thickness of
paint or the aberrations caused by the imperfections in the chemical processing of the
new medium of photography become part of the modern vocabulary of art. By the mid1950’s the brushstroke was the imagery, with Abstract Expressionism and the work of
artists like Jackson Pollock.

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