Anne Zahalka was born in 1957 and comes from an immigrant background with Jewish Viennese and Catholic Czech heritage. She grew up in Australia at the time when immigration was increasing and people were becoming more aware of the range of cultural groups, which evidently influence her works. Due to this, her artworks revolves closely around Australian culture, focusing on themes such as traditional cultures, activities and relationships within a place. Zahalka intends to invent artworks which not only connect to her but to the audience culturally and personally, such as her series of work ‘Welcome to Sydney’ and ‘Hotel Suite’. Zahalka tends to have staged quality within her works, through the process of utilising computer technology to underline her concepts and manipulating imagery, ergo emphasising her intentional meanings, aswell as constructing a temporary studio on location. 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... ... middle of paper ... ...bsequently Anne Zahalka successfully explores her interest in expressing the psychological space of the hotel room through the emotional states of the guests, achieved through her carefully constructed compositions and devices which create and emphasise the emotion evident. To Recapitulate Zahalka intends to invent artworks which not only connect to her but to the audience culturally and personally, such as her series of work ‘Welcome to Sydney’ and ‘Hotel Suite’. Zahalka tends to have staged quality within her works, through the process of utilising computer technology to underline her concepts and manipulating imagery, ergo emphasising her intentional meanings, aswell as constructing a temporary studio on location. In doing so, her works effectively reflect her intentions and interests in the world which are articulated clearly through her careful compositions.
Vera Olivia Weatherbie was an accomplished painter in her own right, regarded more so now than during her lifetime. She was born in 1909 in Vancouver and attended Brittania Secondary School. She grew up in the Strathcona neighbourhood near Chinatown in Vancouver’s East end. Her parents were strict, conservative Presbyterians, yet somehow she was able to persuade them to let her attend the Vancouver School of Decorative and Applied Arts (VSDAA) at the young age of 16.
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
One of the many factors that have contributed to the success of Australian poetry both locally and internationally is the insightful commentary or depiction of issues uniquely Australian or strongly applicable to Australia. Many Australian poets have been and are fascinated by the issues relevant to Australia. Many in fact nearly all of these poets have been influenced or have experienced the subject matter they are discussing. These poets range from Oodgeroo Noonuccal Aboriginal and women’s rights activist to Banjo Patterson describing life in the bush. Bruce Dawe is also one of these poets. His insightful representation of the dreary, depressing life of many stay at home mothers in “Up the Wall” is a brilliant example of a poem strongly relevant to Australia.
With a war against the Japanese was the trigger for racism in Australia. All throughout the novel elements of separation are presented. The Japanese are somewhat divided from white Australians. First of all Broome has a “Register of Aliens”, this was a register or list that kept track of foreign people. This implied that foreigners were seen as aliens and that they didn’t really belong in Australia. The Sennosukes’ names had to be changed because their original names seemed “…too foreign to our ears.” The Japanese living area is Chinatown shows the reader that perhaps whites have put the Japanese into their own little area. Chinatown contains houses that are far smaller and in general with little fortunes unlike the white Australians. It is the broad attitude towards the Japanese that creates a war and endlessly kills Alice.
Pop Art was a Modern art movement that emerged durring the mid-twentieth century in both England and America. It first began to gain recognition in the early 1950’s, after about twenty years of Abstract, as artists altered their attention and looked to change. In the late 1950’s and early 1960’s, Pop Art became much more popular to the general public and successful for the movement’s artists due to the world growing tired of the repeditive forms of Abstract. Found in the Menil Collection, Seated Woman and Lavender Disaster are two examples of Pop Art. The comparison of these two pieces shows although they differ in medium and subject matter both Seated Woman and Lavender Disaster share common underlying themes possesed by all Pop Art.
But familiar landmarks and also the unfamiliar ones aren't the whole make-up of Australia's heritage. It's the people that make a difference. Australia is made up of people from all walks of life who have migrated here for different reasons. Among these, the most common migrants are from Greece, Italy, Russia and Asia. Australia is made up of material culture: the places and objects, but also Living culture: In forms such as Music, Crafts, Literature etc. It is an interplay between international cultures and beliefs, the claims of nationalism and ethnic and religious traditions, as well as the local and community priorities that’s make up the unique Australian heritage.
Interactions between native peoples and immigrants have caused elements of their cultures and societies to entwine where one overpowers the other unevenly, changing both their individual and collective identities. The ambiguity in the peoples’ intentions and understandings creates tension that forces both people to reflect on their identities and act to shape and strengthen them. Both engage in a battle of defining their own and others’ identities and struggle to make them reality. Director Philllipe Noyce’s film The Rabbit-Proof Fence manifests the effects of interactions between indigenous Australians and English colonists, both attempting to control their societal and national identities through the care of their youth. Based on Doris Pilkington Garimara’s Follow the Rabbit-Proof Fence, the film uncovers forgotten memories through a simple but mysterious glimpse into Aborigine (person with mixed aboriginal and white descent) children’s experience of forced separation from their families. In the story, three Aborigine girls escape on foot together from a sickening settlement, hoping to return home, 1500 miles away, safely. The film simplistically, but realistically, depicts the Aborigines as victims of a hypocritical government changing their future claiming to help them, but ultimately to change its own standing. The Rabbit Proof Fence communicates the importance of native rights, freedom, justice, voice, family, and home.
The suburban house, as the film’s setting and sphere of action, is extraordinary partly because it is ‘next-door’ to an airport. The odd layout of this backyard is underlined because their suburb meets the kind of architectural cast-offs often found at the margins of big cities. This mix of the humble backyard with the international vectors of travel, tourism and international trade plays out in the film’s narrative which connects the domestic and the distant. The Castle displays many locations and landscapes easily identified as being unique of Australia- The ‘Aussy’ barbeque and patio setup, greyhound racetrack and poolroom, just to name a few. The neighbours of the Kerrigan’s are a symbol representing the multicultural diversi...
First, Cancun has gorgeous hotels. The architecture of one representative hotel is fabulous. Walking into the entrance of the hotel is like walking through a breezeway because there are no doors. Upon entering, the visitor is mesmerized by the colossal tropical floral arrangement that’s so stunning and full of vibrant color that her mouth drops in awe. Soon, she realizes, after the initial shock, that she is walking on marble floors that look like mirrors reflecting rays of dancing light. Indoor waterfalls accompanied with lavish foliage engulf her; every sense is stimulated. Happily greeted and escorted to her hotel room, she is delighted to see that the hotel’s beauty continues throughout every part of it. Posh describes the room exactly. The bathroom floors, counters, and the shower walls are polished stone, native to Mexico. Surprised, she looks over the balcony to see the S-shaped pool with a floating bar and the bar’s roof covered in bamboo. Walking through the hotel lobby, through the fresh gardens, through the pathway to the pool are picture-perfect peacocks flaunting their beauty, and, indeed, they are very beautiful. Every minute detail of the Grand Hotel is designed to give her an unf...
When I first read about Marina Abramovic, I found her performance art can be both shocking and hold the attention of one. Her work ranges in physical intensity, emotional exposure, and sadness. Marina Abramovic work is about self abuse, self discipline, and unreasonable punishment and great courage. Through the conditions she puts herself and her audience in her performance. In my opinion, I feel Marina Abramovic and my main goal as an artist is not only to completely change the way art is seen by the public, but to push the performance the same line as fine art.
Frida Kahlo’s honest, often bizarre, self-portraits reflect a beauty beyond the physical--- an impishness in the wide eyes, a small smirk teasing at the corners of her mouth. In her renderings, her cheeks are always heavily rouged, and exotic flowers adorn her raven hair. Self-Portrait in a Velvet Dress uses the contrast of light --- Kahlo’s glowing skin --- and dark--- the black background, and in doing so, this painting not only communicates the subject’s outward beauty. It also points to an unspoken turmoil inside of the painter: as dark as the night sky and as deep as rolling sea.
Rosie Gascoigne, is an artist who has aspired an appreciation for undiserable remnants and utilised with them in purpose to produce an assemblage of work that sees into a reflection of the past and present landscape of Australian society. Her growing motivation has taken further interest and development as the founding layers of her work through her deliberate perception, subject to the preservation of the environment and surrounding landscape. Gascoigne’s work offers an insight into deep country outback life of an Australian individual and introduces conceptualities that mirror a focus situated about ‘re-using’, ‘ recycling’ and understanding the insightful meaning present within everyday remnants. Her work is a collective gathering of selected materials to form a composition or an
Composers show how confronting and meaningful discoveries can be through how their characters and settings of their works are depicted. I agree with this statement, because the discoveries made within a text by the audience are there to piece together the picture of which is the texts underlying motive. Examples of this can be seen in the texts ‘Rainbow’s End’ a play by Jane Harrison and the children’s book ‘The Rabbits’ by John Marsden and Shaun Tan. ‘Rainbow’s End’ follows a family of three Aboriginal Australian females; Gladys - single mother trying to support her daughter and help her succeed in life, Nan Dear – Gladys’s mother and Dolly – Gladys’s teenage daughter, showing the struggles that they as an Aboriginal family face in a Anglo-dominant, 1950’s Australian society. ‘The Rabbits’ is an allegory, or retelling, of the British colonisation of Australia, with the British being represented by rabbits and the Indigenous Australians being represented by numbats, an endangered Australian native animal. Both of these texts display themes of discrimination and assimilation towards aboriginals, giving us the chance to discover and understand their struggles.
So I attempted to use this mentality whilst exploring the Highline, allowed the mindset to fill me with energy and then reflected on what I liked and didn’t like about the limitless attitude once I walked back towards Gansevoort Street. When I saw Kathryn Andrews’ “Sunbathers II” piece, I went inside the piece, and smiled while my cousin took a photo of me. I then continued to roamed through Chelsea while observing the people, billboards, paintings and the skyline, and was struck by the Sleepwalker sculpture. When Zadie Smith comes face-to-face with Corona’s “Find Your Beach” advertisement, she begins to analyze and find possible interpretations of the billboard sign. I then began to examine the Sleepwalker sculpture and discussed several potential inferences towards Manhattan the artwork might have with my cousin Michelle. I then got some stracciatella gelato, and Michelle got a coffee. With my recent purchases in hand, I was taken surprise by Andrews’ “Sunbathers I”. Michelle and I laughed
To be human is to confront challenges and difficulties on life’s journey. Individuals may react to such changes in their lives with determination and courage. Determination can be a powerful and driving force; it can lead people to strive to where they want to be and what they want to do. Courage is the quality of mind and spirit that enables a person to endure difficulty, danger and pain. Courage allows a person to show great bravery. The Stolen Generation was a horrific period in history when the Australian Government were forcing the removal of Aboriginal and half caste children from their families and homes to live in white Christian settlements across Australia. The forced removal was official government policy from 1905 to 1971. Rabbit Proof Fence by Phillip Noyce allows the viewer to witness such challenges as they follow Molly on her long journey home to Jigalong in 1931 after she and her sister Daisy and her cousin Gracie are ‘stolen’ and put into a white English settlement, named Moore River, to ‘protect them from themselves’.