Louise Nevelson Sky Cathedral Essay Example

Louise Nevelson Sky Cathedral Paper Louise Nevelson— Sky Cathedral Presence Survey of World Art The sculptress Louise Nevelson was a towering figure of American modernism. Born in 1899, she came to prominence in the late ‘50s, gaining renown for monochromatic structures built out of discarded wood. Critic Arthur C. Danto wrote, â€Å"There could be no better word for how Nevelson composed her work than bricolage—a French term that means making do with what is at hand. (Danto 2007) Her pieces evolved and expanded in size across the latter 20th century, moving from smaller pieces to wall-sized ones, and the plays of volume therein, between light and mass, generated comparisons to numerous different movements. The following paper will examine these links by discussing Nevelson’s work, Sky Cathedral (1982), in conversation with seven others: the Stela of Mentuwoser (ca. 1955 B. C. ), the Grave Stele of a Little Girl (c. 450-440 B. C. ), the Imperial Procession from the Ara Pacis Augustae (13-9 B. C. ), the Triumph of Dionysos and the Seasons (ca. A. D. 260-270), Duchamp’s Bicycle Wheel, 1913/1951, MoMA, Mondrian’s Composition (1921), and Pollock’s One (Number 31, 1950). To set up these conversations, it is necessary to locate Nevelson’s significance. Picasso’s pioneering, early 20th century sculpture of accumulation was the foundation of Junk art—an impulse utilizing found objects. Nevelson had started assembling discarded wood in the mid ‘50s (she was then in her early 60s), and doing so linked her to many younger peers. However, Nevelson was not ideologically linked to either. Similarly, Nevelson’s monochrome reliefs invoked sacred and public tableau from centuries earlier. What is centrally different, though, is the lack of single, true perspective—her larger installations invite consideration from a variety of perspectives. To place her in a particular mode or tradition always seems to run up against these tensions. Starting with the Stela of Mentuwoser (Fig. 2), one has a good example. Like Nevelson’s mature works, it is a rontally-oriented relief, and one might go further, taking the Stela’s funerary function as a link to the commanding monochromes—most obviously the blacks. However, Nevelson herself did not use monochromes to connote anything, stating that the association of black and death was basically a Western cultural association and that for her, â€Å"it may mean finish, completeness, maybe eternity. † Moreover, it would betray cultural projectio n to assume that the Egyptians were attempting abstraction, per se. We will write a custom essay sample on Louise Nevelson Sky Cathedral specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Louise Nevelson Sky Cathedral specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Louise Nevelson Sky Cathedral specifically for you FOR ONLY $16.38 $13.9/page Hire Writer According to Panofsky The ancient Egyptians, who tried to reproduce things in their rigorously objective appearance, surely thought they were proceeding as naturalistically as possible. The Greek artist, in turn, would have thought of his own works as naturalistic only in comparison to those of the Egyptians. {Panofsky 2000) Krauss, in her essay â€Å"The /Cloud/†, reminds us that, â€Å"The Egyptian relief†¦both enforces a shadowless linearity and is projected as if seen from no vantage at all. (Kraus 1992) By contrast, Nevelson’s Sky Cathedral (Fig. ), even in a 2-D rendering, is replete with nooks and shadows—this invites the changing of position which itself multiples its vantages. The Stela is relatively thin; its funerary purpose makes one recall Alois Riegl’s analysis The Egyptian method of employing a theory of proportions clearly reflects their Kunstwollen [artistic intention or â€Å"the will to form†], directed not toward the variab le, but toward the constant, not toward the symbolization of the vital present, but toward the realization of a timeless eternity (Riegl 1957) By inviting the viewer to re-engage Sky Cathedral from multiple approaches, Nevelson is clearly trying to achieve something else. Looking next at the Grave Stele of a Little Girl (Fig. 3), one can see not only the formal advancements to which Panofsky gestured in the quote above but also the metaphysical shift from the perspective Riegl described. Although this Stele, too, is connected to death, it is not concerned with the timelessness of the afterlife—it quite strikingly grasps towards a felt instant of its young subject’s life. The poignancy of this girl’s untimely death and the instant of life the Grave Stele captures are both magnified by the weight and constancy of the marble. By contrast, Nevelson achieves something like suppleness in Sky Cathedral by her use of multiple layers and multiple â€Å"new† spaces that emerge from different vantage points. From the Attic Greek to the Augustan age brings one to the Imperial Procession, located on the North frieze of the Ara Pacis Augustae (Fig. 4). The first two sculptures put into conversation with Sky Cathedral were mortuary, but the Imperial Procession is celebratory. The first two are both smaller than four feet, but the Procession is life-sized, so its visual force is thus magnified. Finally, the individuals therein are not idealized types, in contrast to earlier Greek modes of statuary—they naturalistic depictions of many actual people in the line of the Caesars. The Ara Pacis took four years to build, due to its desired scale and quality, and that scale points to a salient evolution from the Greeks to the Romans. Riegl claimed this vector went from what he call[ed] the haptic objectivism of the Greeks—the delineation of the clarity of the object through an appeal to and a stimulation of the tactile associations of the viewer—to the optical objectivism of Roman art, in which the need to set the figure up in space as radically freestanding led to the projection of the rear side of the body and hence the use of the drill to excavate the relief plane. (Riegl 2004) This magnification in both size and realism fascinates, certainly evoking an interest in multiple planes of and vantages on the Procession. But what is notably absent here that exists in Sky Cathedral are the recesses and pockets—the shaping inner spaces that create shadows and enigmas and that are themselves changeable things, as exterior light shifts. The transition from Augustan to late Roman sculpture finds this crucial transition. From contemporaneous perspectives, Late Roman art was judged to have declined from earlier Greco-Roman standards. However, Riegl argued that the development of an â€Å"optical† mode of representation in the late Roman period—manifested, for example, in the play of light and shadow in the deeply cut sarcophagus reliefs—actually prepared the ground for highly spiritualized Christian painting and ultimately for the idealizing and subjective art of modern Europe. (Riegl 2004) The representative piece from this period is the Triumph of Dionysos and the Seasons (Fig. 5). This piece returns us to mortuary work, but—distinctly from the preceding three—brings us to the first work that does not concern mundane human beings. Carved in high relief, Dionysos rides a panther and is flanked by four young men personifying the Seasons. Additionally, other mythic figures, such as Mother Earth and a Nereid, finish filling out the sarcophagus. It’s worth noting the concrete links between Riegl’s assertion about the play of light and the rise of the subjective. There is a bridge from mystery as a function of light and shadow (visual play) to mystery as visual and religious idealization; similarly, there is a bridge from mystery as personal reaction to mystery in subjectively experienced art (as opposed to art that necessitates some reaction or stance). The name â€Å"Sky Cathedral† prefaces or prepares someone to experience the piece, and the piece is very evocative, even without any human-type figures. By contrast, the once-maligned techniques evident in the high-relief are not independent of the mythic-narrative elements on it. Of course, the obvious next step is to start putting Sky Cathedral in conversation with sculpture that has risen after the rise of the subjective and that has moved past representation. It’s well worth asking what—aside from Nevelson’s demurring—should make someone separate her from Dada, Surrealism, etc. The first candidate is Duchamp’s altered readymade, Bicycle 1913/1951 (Fig. 6). One might disregard Picasso’s use of found objects, used as often as they were for representational pieces, but why shouldn’t one consider Duchamp and Nevelson kindred spirits? The first answer, in experiential terms, is the brute intellectual force of readymades, compared to Nevelson’s work—the best way to explain that is tor refer to the titular semiological device of Krauss’s â€Å"The /Cloud/. In this essay, Krauss cites Hubert Damisch’s Theorie du /Nuage/, which uses a perspective-viewing machine created by Brunelleschi as a point of departure, first to cite /cloud/ as a marker inserted †¦between those two planes of the perspective apparatus†¦slipped into the construction as though it were measurable†¦but which gave the lie†¦to this†¦possibility of definition†¦Perspective was thus understood from the first to be a matter of architectonics, of a structure built from delimited bodies (Krauss 1992) If, to this grounding of perspective and perception, one can add Breton’s definition of readymades as manufactured objects raised to the dignity of works of art through the choice of the artist, the problem becomes clear. Duchamp’s readymades are goal-oriented works, works that live by the putative volition of the artist; therefore, there is nothing conceptual slipped between the two planes above—everything announces itself. By contrast, at first a physical and then a perceptional level, Nevelson’s work interferes and entices. They do not live â€Å"through the choice of the artist,† but rather through the choices of the investigating viewer. Sky Cathedral operates not as a manifesto or an act of will but as a dynamic, growing system. Furthermore, although Nevelson has had pieces such as White Vertical Water, which recalls Arp’s works, she has never taken on the label, Dadaist. The notions of interference and physicality that were present in Krauss’s essay above move the conversation with Sky Cathedral towards Mondrian’s Composition 1921. The most obvious surface differences are Nevelson’s use of curves and irregular lines and her lack of dogmatism, relative to the proponents of Neoplasticism. However, there are just as obviously very exciting parallels. Mondrian’s grids simultaneously organize and disorient space, and one might make the analogy that his use of color parallels Nevelson’s use of the volumes, the fullnesses of Sky Cathedral. Krauss might assert that this was to be expected, discussing how the influence of phenomenology ushered in early 20th century paintings’ concern with, â€Å"†¦the logical grounds of possibility, for the purely subjective phenomenon of vision itself†¦Ã¢â‚¬  and the subsequent ascendance, conceptually, of the grid. Krauss 1992) She goes on to cite Mondrian as the, â€Å"prime figure† in the â€Å"classical period of the modernist grid† (Krauss 1992), and this is entirely reasonable. Mondrian deals with this tension by creating lines without shadows, by using flatness, and by building images straightforwardly, in the mode of objectivism. But if one does not use this strategy to address the phen omenological issues above, the big /cloud/ that slips into the work and sight planes is tactility. Krauss describes the choice as one between, †¦materializing the grid, as when Ellsworth Kelly constructs†¦Colors for a Large Wall†¦Ã¢â‚¬  or between †¦mak[ing] the optical a function of the tactile†¦field of its viewer, that is to say, the succession of those viewing distances the viewer might assume. † (Krauss 1992) It is at this verge, then, that the relationship between Mondrian and Nevelson becomes most provocative—the pure question of sight. Regarding how to engage Nevelson’s work, Danto recalls a term from Hegel To experience an Aufhebung, one must experience something on three levels of consciousness. One must see something is preserved but at the same time that it is negated and that it is transcended. This is the way the mechanics of wood, black and sculpture operate in the experience of Nevelson’s work—or the way she hoped they would operate. (Danto 2007) If Nevelson and Mondrian are antipodes on the spectrum of the phenomenology of vision, it is not surprising that their works are formally antipodal. Danto’s assertion is striking, though, because the physical engagement of Nevelson’s work operates very similarly to that of her final peer. Although Jackson Pollock did not work with found wood, or monochromes, or large reliefs, his work easily triggers the same multivalent observations and interactions that Nevelson’s does. Like her’s, his work generates heightened, shifting, and fragmented awarenesses even as it restructures an apparent totality. The reasons for this are numerous and well-worth examining, especially after an exploration of the fundamental basis of vision. First, Pollock achieves the quality of depth, thus instigating a viewer’s investigation thereof. Whereas Nevelson achieves this quality through physical volumes, arrays of lines, and seeming barrier of monochromes, Pollock does so with line, color and layering. Furthermore, both artists operate within a mode of subjectivity—that is to say, both are creating arenas in which every spectator is playing with and against their own shifting experience of some artwork. To the extent that Danto is correct, to the extent that Nevelson’s (and possibly Pollock’s) works are built to engender Aufhebung experiences, they can do so because of the interplay between shifting perceptual, conceptual, and emotional engagements. Moreover, this space seems open partly because of the aleatory or unconscious impulses within these artists’ processes. This is not to negligate intention in either party’s works—for instance, one quality of Pollock’s opticality is the perception of shadows, despite the absence of (significant) volume—which quality Nevelson’s work obviously generates. Finally though, it’s important to recognize the considerable gulfs between Sky Cathedral and Pollock’s One (Number 31, 1951). There are several qualities which distinguish Nevelson from Pollock and other Abstract Expressionists. There is, in a literal, physical sense, nothing abstract about Nevelson’s work; even though there is nothing representational, per se, her great monochrome masses are amalgams of things that are somewhat recognizable and of regular space. Furthermore, even though Nevelson’s work process cannot be said to have been structured, there was no ideology or impulse towards revealing or expressing a subconscious. Although there are numerous intellectual and personal influences to credit for Nevelson as an artist and thinker, these seven conversations have, hopefully, made clear the uniqueness of Louise Nevelson’s body of work. Bibliography Websites â€Å"Picasso—Biography. † Guggenheim Collection, n. d. http://www. guggenheimcollection. org/site/artist_bio_126. html. (accessed May 2, 2010) â€Å"Mondrian—Biography. † Guggenheim Collection, n. d. http://www. guggenheimcollection. org/site/artist_bio_112. html. (accessed May 2, 2010) â€Å"Arp—Biography. † Guggenheim Collection, n. d. http://www. guggenheimcollection. org/site/artist_bio_8. html. (accessed May 2, 2010) Rapaport, Brooke Kamin. â€Å"The Sculpture of Louise Nevelson:Constructing a Legend. † Jewish Museum (May 2007). http://www. thejewishmuseum. org/site/pages/onlinex. php? d=150. (accessed May 2, 2010) Books Adams, Laura Schneider. A History of Western Art. New York, NY: McGraw-Hill, 2008. Barnet, Sylvan. A Short Guide to Writing about Art. New York, NY: Longman, 2005. Danto, Arthur. â€Å"Black, White, Gold: Monochrome and Meaning in the Art of Louise Nevelson. † In The Sculpture of Loui se Nevelson:Constructing a Legend, ed. Brooke Kamin Rapaport, pp 39-48. New Haven, CT: Yale University Press, 2007. Krauss, Rosalind. â€Å"The /Cloud/. † In Agnes Martin, ed. Barbara Haskell, pp 151-165. New York, NY: Whitney Museum of American Art and Harry N. Abrams, 1992. Panofsky, Erwin. Politics and Art Historical Method in the 1930s. New York, NY:Zone Books, 2000. Rapaport, Brooke Kamin. The Sculpture of Louise Nevelson:Constructing a Legend. New Haven, CT: Yale University Press, 2007. Riegl, Alois. Historical Grammar of the Visual Arts. Cambridge, MA: MIT Press, 2004. Riegl, Alois. Meaning in the Visual Arts. New York, NY: Doubleday Anchor Books, 1957. [pic] Fig. 2. Stela of Mentuwoser, ca. 1955 B. C. Limestone, paint, 104. 3 cm x 49. 7 cm x 8. 3 cm. Metropolitan Museum of Art. Reproduced from www. metmuseum. org. (accessed May 1, 2010) [pic] Fig. 3. Grave Stele of a Little Girl, c. 450-440 B. C. Marble, Parian, 80 cm. Metropolitan Museum of Art. Reproduced from www. metmuseum. org (accessed May 1, 2010) [pic] Fig. 6. Marcel Duchamp, Bicycle Wheel 1913/1951, 1951. Metal wheel mounted on painted wood stool, 129. 5cm x 63. 5cm x 41. 9 cm. Museum of Modern Art. Reproduced from www. moma. org. (accessed May 1, 2010) [pic] Fig. 7. Piet Mondrian, Composition, 1921. Oil on canvas. 59. 5cm x 59. 5 cm. Metropolitan Museum of Art. Reproduced from www. abcgallery. com (accessed May 1, 2010) [pic] Fig. 1. Louise Nevelson, Sky Cathedral, 1982. Painted wood. Smithsonian American Art Museum. Reproduced from http://www. rtst. org/ (accessed May 1, 2010). [pic] Fig. 4. Imperial Procession, North wall of the Ara Pacis Augustae (Altar of Augustan Peace), 13-9 B. C. Rome. White Marble. Reproduced from http://en. wikipedia. org/wiki/Ara_Pacis. (accessed May 1, 2010) [pic] Fig. 5. Triumph of Dionysos and the Seasons, ca. 260-270 A. D. Marble, 86. 40cm x 92. 10 x 215. 90cm. Metropolitan Museum o f Art. Reproduced from www. scholarsresource. com (accessed May 1, 2010) [pic] Fig. 8. Jackson Pollock, One (Number 31, 1950), 1950. Oil and enamel paint on canvas, 269. 5 x 530. 8 cm. MoMA. Reproduced from www. moma. org (accessed May 1, 2010)

The Human Genome Project essays

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While a gram of any type of fa t contains the same amount of calories (nine per gram) the health benefits are definitely not equal (Good, Bad Fats par. 1). This paper will look into the different types of fats and their impact both positively and negatively on the individual. It will provide information on popular diets, and a look into the current USDA’s food pyramid which is under pressure to be reevaluated. Nutritional ingredients in foods that people consume on a regular basis will also be examined. Within the past few years a new commercial fat product developed by Proctor & Gamble has been developed. This commodity is called olestra and it has been surrounded by controversy. This raises the issue of whether government should be involved in any of the health de... ... Aug2003, Vol. 237 Issue 2 - â€Å"Heart Smart Advice Updated for 2000: More Fat. 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Ever since the USDA created the food pyramid in the early 80’s, the feeling towards fats has been that all types are bad for one’s health and should be consumed at a minimum. However, more recent studies have shown that not all fats are detrimental, and some are necessary in maintaining healthy bodies. Certain types are helpful for reducing the risk of cancer, high cholesterol, and heart disease. Without fats the body could not absorb vitamins A, D, E, and K because they help move the supplements into the bloodstream where the vitamins get absorbed (Graham par. 2). Simple actions like a regular consumption of nuts, helps aid in lowering the risk of heart disease and diabetes 2 (Medical Update par. 6). There are many different types of fats in our diet. Monounsaturated and Omega-3 and 6 fats are the healthiest forms, while saturated and trans-fats are the worst kinds. While a gram of any type of fa t contains the same amount of calories (nine per gram) the health benefits are definitely not equal (Good, Bad Fats par. 1). This paper will look into the different types of fats and their impact both positively and negatively on the individual. It will provide information on popular diets, and a look into the current USDA’s food pyramid which is under pressure to be reevaluated. Nutritional ingredients in foods that people consume on a regular basis will also be examined. Within the past few years a new commercial fat product developed by Proctor & Gamble has been developed. This commodity is called olestra and it has been surrounded by controversy. This raises the issue of whether government should be involved in any of the health de... ... Aug2003, Vol. 237 Issue 2 - â€Å"Heart Smart Advice Updated for 2000: More Fat. 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The Bill of Rights was added to the Constitution shortly after its ratification. These amendments guarantee certain political, procedural, and property rights against infringement by the national government (Patterson, 2009). â€Å"A bill of rights is what the people are entitled to against every government on earth, general or particular, and what no just government should refuse, or rest on influence (Thomas Jefferson). The First Amendment provides the foundation for freedom of expression which is the right of individual Americans to hold and communicate views of their choosing (Patterson, 2009). The motivation of the Bill of Rights was to guarantee individual rights and freedoms. The First Amendment reflects this tradition, providing for freedom of religion along with freedom of speech, press, assembly, and petition. The three provisions of the First Amendment are the freedom of speech, assembly and religion. The freedom of speech states that you are free to say almost anything except that which is obscene, slanders another person, or has a high probability of inciting others to take imminent lawless action. The freedom of assembly states that you are free to assemble, although government may regulate the time and place for reasons of public convenience safety, provided such regulations are applied evenhandedly to all groups. The freedom of religion states that you are protected from having the religious beliefs of others imposed on you, and you are free to believe what you like. Freedom of religion simply means citizens have freedom to attend a church, synagogue, temple or mosque of their choice, or not to attend at all. The First Amendment allows us to practice our religion the way we want to. When talking about freedom of religion and the First Amendment I think about religion in the schools. Every since the Supreme Court held school-sponsored prayer unconstitutional in the early 1960s, there has ben a concerted and well-funded campaign to reintroduce religion in public schools. Public schools themselves should not be in the business of promoting particular religious beliefs or religious activities and they should protect children from being coerced by others to accept religious (or anti-religious beliefs. A Saskatchewan Human Rights Commission inquiry ruled in July that the Saskatoon Board of Education must end a practice of giving teachers the option of conducting prayers in public school classrooms and assemblies. In practice, the choice has been primarily the Lord’s Prayer. The ruling will not change practices in separate schools. The inquiry followed a complaint six years ago by nine parents, including Muslims, Jews, Unitarians and atheists. About 20% of the 550 public school classrooms in Saskatoon begin the day with prayer. The decision may be appealed in court (Globe and Mail, 1999). The relationship between religion and government in the United States when it comes to the United States Constitution is governed by the First Amendment to the Constitution, which both prevents the government from establishing religion and protects privately initiated religious expression and activities from government interference and discrimination. The First Amendment thus establishes certain limits on the conduct of public school officials as it relates to religious activity, including prayer. Prayer should not have been taken out of schools. Parents should be sent home a letter opting out of religious activities and employees should be given the same option, but taken it out of schools was ridiculous. The case of Engel v. Vitale (1962) went to the Supreme Court and the case was about a time in 1951 the New York State Board of Regents (the State board of education) approved a 22-word â€Å"nondenominational prayer â€Å"for recitation each morning in the public schools of New York. It read: â€Å"Almighty God, we acknowledge our dependence upon Thee, and we beg Thy blessings upon us, our parents, our teachers and our Country.† The Regents believed that the prayer could be a useful tool for the development of character and good citizenship among the students of the State of New York. The prayer was offered to the school boards in the State for their use, and participation in the â€Å"prayer-exercise† was voluntary. In New Hyde Park, New York, the Union Free School District No. 9 directed the local principal to have the prayer â€Å"said aloud by each class in the presence of a teacher at the beginning of the school day.† The parents of ten pupils in the New Hyde Park schools objected to the prayer. They filed suit in a New York State court seeking a ban on the prayer, insisting that the use of this official prayer in the public schools was contrary to their own and their children’s beliefs, religions, or religious practices. The State appeals court upheld the use of the prayer, â€Å"so long as the schools did not compel any pupil to join in the prayer over his or his parents’ objection† (infoplease.com). The Freedom to Assemble gives people the right to assemble peacefully without causing any harm to others. As much as I do not agree with the KKK views and opinions they should be able to assemble if they do it in a peaceful manner. The First Amendment prohibits government from abridging â€Å"the right of the people peaceably to assemble. This basic freedom ensures that the spirit of the First Amendment survives and thrives even when the majority of citizens would rather suppress expression it finds offensive. Over the course of our history, freedom of assembly has protected individuals espousing myriad viewpoints. Striking workers, civil rights advocates, anti-war demonstrators and Ku Klux Klan marchers have all taken to the streets and sidewalks in protest or in support of their causes. Sometimes these efforts have galvanized public support or changed public perceptions. Imagine a civil rights movement without the March on Washington or the women’s suffrage movement without ranks of long-skirted, placard-carrying suffragists filling city streets. The U.S. Supreme Court recognized the importance of this freedom in the 1937 case De Jonge v. State of Oregon, writing that â€Å"the right to peaceable assembly is a right cognate to those of free speech and free press and is equally fundamental. â€Å"According to the Court, † the right to assemble is one that cannot be denied without violating those fundamental principles which lie at the base of all civil and political institutions† (archive.firstamendmentcenter.org). The KKK’s right to assemble peaceably was secured by the famous 1977 case of National Socialist Party v. Skokie, in which the American Civil Liberties Union successfully argued that the First Amendment prohibited officials of Skokie, Ill., from banning a march by the National Socialist Party. Skokie is a Chicago suburb that is home to many Holocaust survivors. One federal judge reasoned that â€Å"it is better to allow those who preach racial hatred to expend their venom in rhetoric rather than to be panicked into embarking on the dangerous course of permitting the government to decide what its citizens may say and hear† (archive.firstamendmentcenter.org). In conclusion, the First Amendment of the United States protects the rights to freedom of religion and freedom of expression as well as freedom of assembly from government interference. Freedom of expression consists of the rights to freedom of speech, press, assembly and to petition the government for a redress of grievances, and the implied rights of association and belief. The Supreme Court interprets the extent of the protection afforded to these rights. The First Amendment has been interpreted by the Court as applying to the entire federal government even though it is only expressly applicable to Congress. Two clauses in the First Amendment guarantee freedom of religion. The Establishment Clause and the Free Exercise Clause are two clauses in the First Amendment that guarantee freedom of religion. The Establishment Clause prohibits the government from passing legislation to establish an official religion or preferring one religion over another. It enforces the â€Å"separation of church and state.† The Free Exercise Clause prohibits the government, in most instances, from interfering with a person’s practice of their religion. The right to assemble allows people to gather for peaceful and lawful purposes. Implicit within this right is the right to association and belief. With that being said, all people should be having some kind of freedom. They should be able to boycott and assemble peacefully without causing any harm to anyone. People should be free to have their different views and opinions of religion, be it that they religious or anti-religious. To sum it all up I would love for everyone to feel that they are free. References http://www.oyez.org/cases/1960-1969/1961/1961_468 http://www.aclu.org/religion-belief/program-freedom-religion-and-belief-government-funded-religion â€Å"Religion in schools (teachers in Saskatchewan will no longer have the option of conducting prayer services in class).† Humanist in Canada 130 (1999): 4, 39. General OneFile. Web. 25 June 2012. http://www2.ed.gov/policy/gen/guid/religionandschools/prayer_guidance.html