‘Copying, reinterpreting, quoting, and translating are all terms that have been utilised as alternative descriptions for the phenomenon known as “appropriation”, the action of taking or making use of something without authority or legal right. This practice often involves borrowing, mimicking, or even stealing, and it is highly contested and criticized in the contemporary art world’ (Gorman, C 2013, p. 215).
Appropriation in the postmodern decade brings various aspects such as cultural exchange and finding identity. From the number of contemporary artists used the appropriation in their artwork covers a wide range of media. Appropriation art, sometimes cause responses varying from astonishment and suspicion to praise and acceptance, depend on the viewers and the performance by the artist. This essay then critically discusses two particular artists, Masami Teraoka and Yasumasa Morimura, who illustrate the appropriation in their art with similar and dissimilar concepts. The focus is on the visual arts, yet the argument of appropriation has significant effects for analyses of particular conceptualisations such as finding identity and dominion of cultural and intellectual chracteristics
A satirical cultural viewer, Masami Teraoka brings his creativity from a variety of techniques, times, and genres. His artworks sometimes hilariously, sometimes critically, deliver narratives that explore controversial social and political issues. The clash of Asian and Western culture as seen in 31 Flavors Invading Japan (Figure 1) and McDonald’s Hamburgers Invading Japan (Figure 2) are only part of the matters addressed. Teraoka constantly blends culturally particular iconography with current world wide community, appropriates any accepted recogn...
... middle of paper ...
...ture. Morimura has generated his own creations that literally represent in the wide range of photographs that can be seen in western art history, 20th century media, and movies. Morimura’s work such as Self-Portrait-After Marilyn Monroe (Figure 3) deal with self-portraits created applying appropriation and photography. He appropriates iconic scene or images from history, art and media, and then putting himself into the roles portrayed in the numerous scenes. In his works, he interchanges between acting female characters such as Marilyn Monroe (Figure 4). His unique photographs have received various reactions, from provocation and unfamiliarity to fascination. The obscurity of Morimura’s gender role in his works, bring together with the engaging techniques of his appropriation art, makes him a prominent postmodern artist in the diverse perspective of other critics.
Born in 1951 in Osaka, the third largest city in Japan, Yasumasa Morimura is a Japanese artist who has become well-known for his captivating and elaborate portraits which emulate iconic art historical images as well as aspects of mass media and popular Western culture. He is able to realistically slide into the roles of art historical icons such as the Mona Lisa as well as prominent actresses such as Marilyn Monroe through extensive preparation. A majority of his portraits deal with issues such as cultural and sexual appropriation as well as the multifaceted, complicated relationship between Japan and the West. Costumes, makeup, props, and digital manipulation are used to produce provocative, large-scale self-portraits which challenge these
People usually expect to see paintings and sculptures in Art Galleries. Imagine the surprise one finds when they are presented with a man stitching his face into a bizarre caricature, or connected to a machine which controls the artist’s body. These shocking pieces of performance art come under the broad umbrella that is Postmodernism. Emphasis on meaning and shock value has replaced traditional skills and aesthetic values evident in the earlier Modernist movements.
Curtis’s work represents the ideological construction of foreign cultures in the 'way of seeing' that is suitable for the audience of the photograph and the photographer. This illustrates the highly political motives of photograph, carrying multiple meanings in order to craft certain imaginations of the subject (Berger, 1972). As a result of the power that the photographer has on its subjects, certain messages and ‘way of seeing’ are depicted through photographs. For instance, expected gender roles are played out in photographs of the Indian subjects, portraying the expectation of Curtis and his audience of the masculine and feminine behaviour by the subjects conforming to such gender standards (Jackson, 1992). Indian men are captured in what Jackson (1992) describes as ‘active poses’, such as fishing or dancing, juxtaposed with the ‘passive poses’ of female subjects, photographed in more decorative postured of waiting and watching. Though it can be argued that the manipulation and selection of images by Curtis as an artist’s ‘creative manipulation’ of their work, Curtis’ photography was used as a scientific measure, and hence should be devoid of such influences (Jackson,
The earliest forms of art had made it’s mark in history for being an influential and unique representation of various cultures and religions as well as playing a fundamental role in society. However, with the new era of postmodernism, art slowly deviated away from both the religious context it was originally created in, and apart from serving as a ritual function. Walter Benjamin, a German literary critic and philosopher during the 1900’s, strongly believed that the mass production of pieces has freed art from the boundaries of tradition, “For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependance on ritual” (Benjamin 1992). This particular excerpt has a direct correlation with the work of Andy Warhol, specifically “Silver Liz as Cleopatra.” Andy Warhol’s rendition of Elizabeth Taylor are prime examples of the shift in art history that Benjamin refers to as the value of this particular piece is based upon its mass production, and appropriation of iconic images and people.
In the first image on the left, a man is kissing a lady; the artistic way of expression can be interrupted as disrespectful or offensive. Her work has had a lot of criticism as there is too much sexuality featured. For example, the boy and the girl on the cliff having oral sex. Nevertheless, she doesn’t shy away from controversial topics of racism, gender,and sexuality in her paper -cut silhouette.
American pop culture recently received flak for cultural appropriation. Artists such as Katy Perry and Selena Gomez were criticized for superficially incorporating Asian images into their music. However, cultural appropriation and cultural tourism – and its consequences – are commonly seen in relation to traditional culture; this lack of attention towards visual representation of modern Asian subcultures – in relation to Asian Americans – dismisses the potential impact of these images. A visual analysis of Avril Lavinge’s “Hello Kitty” and Gwen Stefani’s appearances with the Harajuku Girls reveals that the use of Japan’s Harajuku subculture in American pop culture perpetuates Asian American stereotypes. Specifically, these acts contain characteristics of the submissive “lotus blossom” stereotype and the invisibility that comes from this stereotype. These characteristics result in an insidious formation of race; Avril Lavinge and Gwen Stefani’s cultural tourism constructs the concept of an American that excludes the Asian body through contrasts between themselves and the background Asian body. This racial formation relies on the idea that the two artists have become part of the Harajuku culture, yet they are clearly distinguishable from the homogenized Asian body.
Through the exploration of this diverse range portraiture, the contrasting ideals of masculine and feminine beauty in the Renaissance have been explored. Yet overall, no matter what the gender orientation of the subject, it the discovery of such passionate and artistic talent presented which is essentially ‘beautiful’. Consequently, the grand appeal of such glorious images is still appreciated today, and will continue to delight viewers for generations to come.
No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Sherman’s photography is part of the culture and investigation of sexual and racial identity within the visual arts since the 1970’s. It has been said that, “The bulk of her work…has been constructed as a theater of femininity as it is formed and informed by mass culture…(her) pictures insist on the aporia of feminine identity tout court, represented in her pictures as a potentially limitless range of masquerades, roles, projections” (Sobieszek 229).
Throughout history art has played a major role in society. It started out with paintings and went to photography and eventually to films. Artistic interpretation depended on whom the artist was and what he or she wanted to present to the audience. When it came to portraiture, whether it was paintings or photography, the idea of mimesis was very important. However important this may have been, the portraits were mostly products of the media and fashions during that time period. Whatever was popular during the time was used such as columns or curtains in the background. The face was the main focus in the painting and there was little focus on the body. Later on during photography the body was focused on more. Even though photography was used much later after paintings were used, it allowed the artist even more artistic interpretation because of the ability to play a different role and not having to be ones self. The artists that will be focused on are Frida Kahlo and Cindy Sherman. They lived during different periods and their artistic intentions varied because of that. They also had similarities in that they thought outside of the conventional roles. These women were both self-portraiture artists and although they were considered that their interpretations did not always make their portraits self-portraits. Traditionally the artist was an outsider, but when it came to self-portraiture they became the subject and the audience became the outsider. The similarities and differences of Frida Kahlo and Cindy Sherman’s art were tied into the strength and also vulnerability they had because of their roles as women. They wanted the audience to see a background story to the portraits and not just an image of a beautiful face.
This investigation will examine a few key works by the anonymous female artist group know in popular culture as the Guerrilla Girls. In this essay it will reveal several prominent themes within the groups works that uncover the racial and gender inequalities in politics, art and pop culture with the use of humor. These collaborating artists work and operate with a variety of mediums, their works display a strong message concerned with activism connected by humor allowing the Guerrilla Girls to communicate and resonate a more powerful message to the viewer. The ways in which this collaborating group has employed many questions and facts against the hierarchy and historical ideologies which have exploited women and their roles in art. This investigation will allow the reader to identify three areas in which the Guerrilla Girls apply a certain forms of humor to transform society’s view on the prominent issue of gender in the art world. These specific ploys that are performed by the Guerrilla Girls are in the way they dress, the masks they wear, pseudonymous names of dead women artists and the witty factual evidence in their works. These are all examples to evoke audiences in challenging not only the art society which dictates the value and worth of women in art but also to confront yourself and your own beliefs in a way that makes audiences rethink these growing issues.
In our new age, social media-strained society, you will find different artists expressing their ideas on a controversial topic. One of the controversial topics is Cultural Appropriation. Cultural Appropriation is a “sociological concept which views the adoption of the use of elements of one culture by members of a different culture as a largely negative phenomenon (James Young).” Consequently, many see it as an appreciation of a culture, while others feel it is a degradation of one. However, cultural appropriation should not be used as fashion, or blatant ignorance without knowledge of the culture first hand.
“Cultural appropriation refers to picking and choosing elements of a culture by a member of another culture without permission” (O’Reilly). For example, white people steal certain parts of African American culture. They exploit it, misuse it, and whitewash it. “Exploiting a culture deprives the culture of the credit they rightfully
The Linfield Gallery is currently hosting an exhibit titled, “Alterations” by Wendy Red Star and Kaj-anne Pepper. The work of these two artists demonstrates the many ways in which cultural identity is expressed and perceived through a mixture of costumes, rituals, and traditions. The costumes, created by Wendy Red Star, mimicked those of traditional Crow dance outfits for males, which are now viewed as a form of women’s fashion. This exhibit is the first time that Red Star and Pepper have displayed their work collaboratively, and I feel that there is a strong connection between these two artists. They both illuminate different aspects of cultural identity and individuality through unique forms of creativity and entertainment.
The image has a huge effect in society. A celebrity’s image can characterize, shape and circulate societal myths in Hollywood. Marilyn Monroe was an American actress, singer, and model. People think her figure and beauty make her become a popular icon and sex symbol in the 1950s. When people talk about the name of Marilyn Monroe, a blonde beautiful sexy female's image will appear in people's minds. What has the beauty standard shown us through Marilyn Monroe in the mid-20th century? Besides the beauty what other things did she need in order for her to be famous at that time? Marilyn Monroe's status as a sex symbol has influenced many artists since her time, even though the beauty standard has been different since then. If we look at the celebrities today, we can find many imitators of Marilyn Monroe: Madonna, Britney Spears, Lindsay Lohan, and even Lady Gaga. They do this not only because of marketing and media needs, but also because people today still “worship” the image Monroe created. A half-century has passed since Marilyn Monroe's death, so why is she still relevant today? As time has passed, Marilyn Monroe's image is becoming even more meaningful and valuable. Think about the image she has created, the main point I want to study is: how does a woman who passed away at thirty-six years old, after starring in only a handful of movies, has such on the impact on women, especially young women, in the 21st century? To find the answer of how she has an impact on young women today will also show how some of the young celebrities today became successful.
Ashkenazi, Michael. "Food, Play, Business, and the Image of Japan in Itami Juzo's Tampopo". In Anne Bower, ed., Reel Food: Essays on Food and Film.New York: Routledge, 2004. Print