Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Socio-cultural contexts in art
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Socio-cultural contexts in art
Visual texts can be seen to be an attempt by their creators to represent particular ideologies to their viewers. It is the viewer's attitudes and values however, that determine the contemporary meaning of the image. The painting George Robinson welcomes Natives to Wybalenna, is a Colonial document portraying the Christianizing of indigenous people on Flinders Island. Visual codes and conventions employed in the image, such as positioning and framing depict the entwined values of white, patriarchal and Christian ideologies of the 19th Century. However, change in how society identifies itself, also changes the dominant ideology in its culture. Subsequently, the historical context of Post-Colonial attitudes and values in contemporary society, evoke a contemporary meaning in Robinson's painting, one of racial and religious prejudice.
The convention of positioning is vital in constructing the Colonial ideology of Robinson?s image. It has the potential to provide the viewer with visual associations, which translate to language in the form of binary oppositions. For instance, the most c...
Observation of the first piece in the series showcases the warm Australian desert tones contrasted against a cool blue night sky. This creates a different tone compared to the other pieces, which is enhanced with the inclusion of Truganini’s image in the sky, who is often historically known as ‘The last surviving Tasmanian Aborigine’ (Krischer 2012, 123). Therefore, the addition of her faded image in within the composition constructs an evocative feeling of loss, portraying the destructive impact of colonisation in Indigenous culture. Similarly, the geometric lines and perspective shapes contrast with the other painted styles of the artwork, and with Truganini being at the central vanishing point, it furthers that sense of loss. Thus, through the design principle of contrast, Bennett effectively conveys the historical and cultural impacts that colonisation had on Indigenous people across Australia and the concern over his personal
Another sign of symbolism in this film was the pictures. It seemed as though the pictures inspired these people. They wanted to be just like the people in the pictures. The pictures symbolized the colonizer. The only colonizer in this film was the
Anne Zahalka cleverly presents her intentions and interests in the world clearly throughout her artworks, more specifically her series ‘Welcome to Sydney’. Through the creation of this series Zahalka was interested in the changing multicultural nature of Australian society, closely drawing the audiences attention to the cultural frame. She effectively does this by portraying the subjects with dignity and respect by deliberately positioning them in an area in which they connect with. In doing so, Zahalka acknowledges her own experience, as the daughter of immigrant parents has influenced her conceptual practice. She uses cultural symbols to show the individuals are different, yet making them as one being put into Australian locations. In the image ‘Guangan Wu, Market Gardens, Kyeemagh’ a chinese immigrant stands in a panoramic landscape of market garden...
Indigenous Australian artist Gordon Bennett re-contextualises the work of Colin McCahon by borrowing and transforming key visual features. Bennett’s work challenges the viewer and gives them an alternative perspective of the culture and identity of Indigenous Australians. The quote by The National Gallery of Victoria states, “Often describing his own practice of borrowing images as ‘quoting’, Bennett re-contextualises existing images to challenge the viewer to question and see alternative perspectives.” This quote is clear through analyzing the visual features as well as the meaning behind the work of Gordon Bennett’s appropriated artwork ‘Self-portrait (but I always wanted to be one of the good guys)’ (1990) and comparing it to Colin McCahon’s
The National Picture gives a completely different idea to the original, now showing instead of the Indigenous Australians being a more prominent culture and population in Australia, it instead shows a more mixed culture but a majority of white Europeans, which is true in the time of the painting, being in the 1980’s. This shows the journey of diversity in Australia, for better or for worse is debatable as to get to where we are now took a long and unfortunate process for the Aboriginal culture which was mostly lost due to the many deaths caused due to many political
...sed in the first scene; the white family appear more superior over the aboriginal family, music, such as the Celtic music used in early scenes to foreground the idea of white settlement and the reluctantcy to incorporate any values or ways of life that the original inhabitants had. Her powerful dialogue seen in ‘this land is mine’ scene, which significantly empowers to audience to question whether the white settlers have failed to incorporate any of the ways of life and values of the Indigenous people. Finally, Perkins’ fine editing skills allows audiences to physically see the contrasts of the two families and their beliefs, values and ways of life. From the film, audiences can learn, and also forces them to question whether they have failed to learn from the original habitants of the land they live in today.
Before we look at whether James Moloney effectively uses characterisation to convey Aboriginal issues we must look at the issues themselves. In Dougy, the issue of black and white prejudice is strongly present in the plot. The stereotyping of Aborigines and white Europeans play an important role in the events and the outcome of the story, as is individuality and the breaking of the stereotypes. The book also touches on the old Aboriginal superstitions that are still believed in by some today, though one of such superstitions plays an important role in creating the mood of the resolution. These issues impact most heavily on the character Gracey.
Having such an image before our eyes, often we fail to recognize the message it is trying to display from a certain point of view. Through Clark’s statement, it is evident that a photograph holds a graphic message, which mirrors the representation of our way of thinking with the world sights, which therefore engages other
In Jasper Jones, racial power has been reflected through the representation of certain groups and individuals of the 1960s and the conflicts that occurred. At the time in which the text was set being the 1960s, racial prejudice was evident in Australia, especially in rural areas that maintained a parochial and xenophobic society. Aboriginal people were not recognised as citizens of Australia and in some cases, not even as people. They were mistreated and typically seen as uneducated drunkards and criminals. Offspring of white colonists and Aboriginal people were regarded as ‘half-caste’ and were also not acknowledged as Australians. In the same context, there was a growing hatred and resentment towards Vietnamese immigrants due to the impac...
History takes place so rapidly that it’s often hard to recall the exact occurrence without technology. Most of our primary sources come from the writing of an individual as they experience history unfolding. It’s rare that two individuals provide stories so similar that they can be compared. John Smith and William Bradford provide this rare opportunity with their renderings. Comparing and contrasting the writing of the two allows the purpose, intended audience and more to be identified.
The nature in which we live is truly beautiful and something to preserve and treasure. When the Europeans first came to North America, they were immediately in love with the views they encountered. They were interested in wanting to know more about the land, the animals that peeked around, and the people who called it home. Artists such as, John White had heard the tales of what Christopher Columbus had described during his time in North America, which led to them wanting to make their own discoveries (Pohl 140). Everyone had their own opinions and views of the world, but artists were able to capture the natural images and the feeling they had through their paintings (Pohl 140).
Kaplan, Sidney. The Black Presence in the Era of the American Revolution, 1770-1800. Greenwich, Conn: New York Graphic Society, 1973.
Giovanni Stradano’s engraving, Amerigo Vespucci awakening “America”, is embedded with many examples of colonial discourse. It illustrates many myths including the myth of racism and conquest. How Tasty was my Little Frenchman and America Before Columbus both explore the myths of racism and conquest.
To show how stories can affect colonialism, we will be looking at British authors during the time of colonialism. During this period of British colonialism, writers like Joyce Cary, author of “Mister Johnson” wrote novels about Africa and more specifically, a Nigerian named Johnson. Johnson in this novel is represented as “[an] infuriating principal character”. In Mr. Cary’s novel he demeans the people of Africa with hatred and mockery, even describing them as “unhuman, like twisted bags of lard, or burst bladders”. Even though Cary’s novel displayed large amounts of racism and bigotry, it received even larger amounts of praise, even from Time Magazine in October 20, 1952. The ability to write a hateful novel and still receive praise for it is what Chinua Achebe likes to describe as “absolute power over narrative [and...
Essayist Jane Tompkins addresses this idea of perspecitivism by citing the changing representation of colonial American Indians in historical texts dating from 1964 to 1978. According to Limerick, in historical texts from the early 1960s, Indians weren't represented at all; they were "simply beneath notice" (65). By the late 1960s Indian culture, albeit "an inferior culture" (65), was finally acknowledged. In the early 1970s Indians "were the more or less innocent prey of the power-hungry whites" (65), but not until 1978 did Indians become "complicated, purposeful human beings, whose lives were spiritually motivated to a high degree" (66). Tompkins argues that because every historical account is a product of its author's perspective, it is important to analyze varying sources, including those of the traditionally under-represented. What I found in my research of Bloody Sunday is that in our efforts to account for the traditionally under-represented perspective, we have absentmindedly omitted the dominant perspective instead. This omission will undoubtedly cause the same problems that omitting the traditionally under-repr...