Shirin Neshat is an Iranian artist whose artwork leans on her cultural background. She is a film director, video artist, and photographer. Neshat’s personal experiences have shaped and strengthened her artistic journey. Neshat focuses on the cultural history of the country she has been exiled from and is a voice for the people who her country silences. Her photographs, films, and videos take on large social issues and collide the traditional and the modern (Princenthal
Many Native American civilizations are well known. However, many stereotypes are created based on the belief that all Native Americans were similar. There is one native tribe that has the most controversy revolving around it. That was the culture of the Karankawas. Until just recently most known information came from words of mouth, and there were many distorted views on this great nation.
The idea that art can be a service to people- most importantly a service to poor and disenfranchised people is one that may be disputed by some. However, Elizabeth Catlett and other artists at the taller de Graffica Popular have proved that art could be made to service the poor. Catlett in particular is someone who has always used her art to advocate for the poor and fight injustices. While her activism and political views were very impactful, they were also very controversial. Catlett`s art and activism influenced African American and Latin American art by changing the narratives of Black and Brown working class women. In their books titled Gumbo Ya Ya, The Art of Elizabeth Catlett, African American Art: The Long Struggle, and Elizabeth Catlett: Works on Paper authors Leslie King-Hammond, Samella S. Lewis, Crystal Britton, Elizabeth Catlett, and Jeanne Zeidler speak of the work of Catlett. In a paper titled -----, ---- also speaks of the work of Elizabeth Catlett and her legacy as an activist.
-at home, it is the culture for women to serve the men first, and then eat with their children after the men have finished
Ai Weiwei was born during the Cultural Revolution in China of 1950s, he inherited a lot of his political knowledge from his father who was a poet called Ai Quig. Ai Quig was then later exiled with his family to re-education camps on the out reaches of a desert in 1958 for questioning government authority. After the Cultural Revolution, Chinese citizens were allowed to travel outside their borders again in 1970s. As a young man, the place that Ai Weiwei dreamed about going to was New York. He went to New York and was exposed to its western influences, its liberty and freedom of expression (Springford, 2011).Using photography Weiwei recorded and documented everything that inspired him. Weiwei visited galleries and art museums that exposed him to the world of conceptual art, becoming influenced by Andy Warhol and Marcel Duchamp. Ai Weiwei admired the ways of artists who could simply proclaim what was art and what wasn’t art, how Duchamp questioned art and when something gets to be art (Springford, 2011).Ai Weiwei came back to China in 1993 to take care of his sick father, and found himself drawn to his responsibility as an artist, to take the task of re-awakening his country through his art and to expose his thoughts on the corrupt and controlling nature of China’s government (Philipson,2012). Ai Weiwei has always been an outspoken artist. In the course of his art making, Weiwei has used a form of activism in his art, with political ideologies that exist because of the Chinese government. He also uses a sense of memory and the countrys past and history. Most of his art involves the public and their outlook of the government. Weiwei requests engagement from the public as a show of protest in his artworks (Harris & Zucker, 2009). When...
The two artworks, Club Chair (‘Wassily’ Chair) and Un Chien Andalou showcase the identifying ideas and techniques associated with their movement, and defy the conventional mode of thought. Un Chien Andalou demonstrates the shift from living within the realm of reality to giving the imagination and sub conscious a chance to reveal the true realities. Wassily Chair rejected the excessive nature of products and created a new sophisticated style that allowed artists to become part of the community.
Persepolis is a inspirational story written by Marjane Satrapi in the perspective of a young girl’s life during a powerful, historical moment in Iran. The Islamic Revolution was a life-changing moment that impacted her view on the world around her and her innocence shaping her into the woman she is today. Not many people understand what it feels like to feel pain, hurt and abandonment as a child from major and minor things. The author writes this story and decides for it to be a graphic novel to allow the not only young readers, but also for those who do not understand what happens everyday in the world they live in. Satrapi uses all rhetorical stances, ethos, pathos, and logos to show problems, purpose and emotions.
Marjane Satrapi’s graphic novel, Persepolis, is a story based on her own childhood in Iran. The story consists of the struggles her family and friends are forced to deal with, changing Marji’s view of Iranian life and its people. The book starts during a revolution, the Iranian people are trying to overthrow the emperor and when they finally do, war breaks out between Iraq and Iran. During the war thousands of people’s lives were taken, women, children and men of all ages. During this Marji’s parents forced her to leave Iran because they know it is too dangerous for a child of her age to live in the middle of a war so severe and life threatening. During the time Marji did live in Iran, she heard many tales about the umpteen conflicts and struggles that lower class people were faced with. Marji saw her maid whom she loved and cared for, not being able to date her love, their neighbor, because she was embedded in a different social class. She experienced the harsh realities of divergence between men and women. Women were compelled to wear a veil in order to not “distract” men with their hair. Younger boys in the lower end of the class system were given a “golden” key to take to war, which was actually plastic; this key meant that if they were killed fighting for what they believed in, it would guarantee their entrance to heaven. In Iran, there were a variety of ways in which the people of Iran can be distinguished between social classes. Your social class affected you in every way there was during this horrible time in Iran.
Hiroshi Sugimoto is a Japanese photographer born in Tokyo in 1948. Upon graduating from Saint Paul’s University in Tokyo with a degree in Sociology and Politics and moved to Los Angeles in 1970 and attended the Art Centre College of Design. He moved to New York in 1974 after receiving his Bachelors degree and now lives in Tokyo and in New York. He divides his work into photographic series, each representing a certain theme. He is most famous for his seascapes, movie theaters, natural history dioramas and portraits, and waxworks series. He explores the idea of photography and time, and uses photography as a way to record science and history alongside the idea of indescribable human nature. His aim when creating portraits is to make them as lifelike as possible so the viewer reconsiders what it is to be alive.
In America, many have come to recognize Iran as a terrorist nation, but in reality, many Americans stereotype Iranians because they misunderstand the country and how it got to that point. In Marjane Satrapi’s graphic novel Persepolis, she gives her readers an inside look of Iran by writing about her childhood during the Iranian Revolution and the changes in her life during that time. The frames in Satrapi’s graphic novel draw similarities and differences between advertisements and the Iranian culture. After analyzing the Satrapi’s graphic novel to advertisements we will look at the similarities and differences of how graphic novels and advertisements use words and images to establish the visual rhetoric.
As revealed in Azar Nafisi's book Reading Lolita in Tehran, Iran's radical religious and political views are the driving force behind the domination and maltreatment of the country's people. Throughout the book there are many examples of this oppressive treatment which is enforced because of strict religious convictions. Nafisi compares the oppression happening during a tense period of revolution with various works of fiction that mirrors what is becoming life in Iran. The tyrannical treatment of Iranian people can be analyzed by uncovering themes found throughout Nafisi's book.
Kahlo’s Velvet offers a shining example of her own talent and versatility while never abandoning her signature style. Chiefly, it demonstrates the artist’s complexity and her ability to critically examine her cultural identity and herself as only she
The multi-talented Camille Billops has found many different ways to express her artistic ability throughout her career. Her works that were done throughout her career was an expression of her life. Throughout the life of Camille she had many influences leading her into the art world. This paper has the artist going through her life coming up through the world as a student to a teacher then artist, and her works making her a legend. The way she met her husband and worked together to make the Hatch-Billops Collection. In her time as an artist she changed her work a few times. She started doing printmaking then changed to sculpture and film making. Throughout her life is what made her films. The trilogy of films makes her life public for everyone to see. From Suzanne Suzanne to Finding Christa and then to String of Pearls. Camille Billops is an artist representing her culture through her works of printmaking, sculpture and film. She has made her mark in history by doing so. Because of this she will always be remembered.
Various genres of art – specifically novel or fiction – with its portrayal or depiction of cultural constructs such as music, dancing, sculpting, painting and building, “connects” a person with a specific period of time or age and cultural community. In addition, a novel also moulds or gives expression to perceptions of individual as well as social identity. This complex idea of identity and belonging has been illustrated in Keri Hulme’s novel, The Bone People.
Amidst the unprecedented success of the new generation of Korean filmmakers in both local and global arenas, one question remains to be investigated: how do old masters of Korean cinema define their art in this period of dynamic transition? My article addresses this vital and yet somewhat neglected issue by examining thematic and stylistic changes in recent films by Pak Ch’ôlsu (Park Chulsoo) and Im Kwônt’aek (Im Kwon-Taek), two prominent figures who began their directorial careers in earlier decades but have continued their search for their own film language to the present day. Pak’s Farewell My Darling (Haksaengbugunsinwi, 1996) and Kazoku Cinema (Kajok sinema, 1998) and Im’s Chunhyang (Ch’unhyangdyôn, 2001), while employing the conventional mode of storytelling as a structural scaffold, often break down the wall between diegesis and nondiegesis. They thereby undermine cinematic illusionism, which has long dominated Korean film. Pak continues his formal experiment in his latest work Pongja (Pongja, 2000) in which he blends social and virtual realities by means of a digital camera. In a similar spirit of border-crossing and hybridization, Im incorporates traditional Korean painting into the visual language of Painted Fire (Ch’wihwasôn, 2002). These veteran filmmakers’ playful attitudes toward the possibilities of the cinematic medium and especially their common concern with reflexivity and intertextuality reveal their changing views on life, art, and society. In light of their long contributions to the plot-driven mimetic tradition of mainstream cinema, Pak’s and Im’s innovative styles can be seen as ironic yet earnest responses to the shifting cultural milieu of today’s Korean film.
...p from the world they live in, a world of separation and indicate themselves with their own realities. Art is handed over into society’s hands, as in one movement it is suggested - to fixate what is real, live like you create and create like you live; in other – abandon media’s proposed ideas and take the leadership of life in our own hands.