Art is used in mass media to influence people, especially people in the generation and culture we live in today. The majority of art young people receive in our culture is through television and in particularly popular culture networks, like MTV. The television show on MTV called The Hills is an example of a show that promotes dominant ideology to young children/ teenagers. Slightly opposite of that would be another show on MTV called Jersey Shore, which is an example of a show that partly reinforces and partly challenges dominant ideology to the same type of audience. The two shows are looking at people who are in their 20s and there life as they live it in their current situation, they both claim to be reality television with no scripts. The Hills follows the life of one main girl and her friends, partners, and career however, all the actors in the show come from wealthy parents, and live a wealthy life style. Jersey Shore however, is a show about eight people living under the same roof, and following their lives as middle, working class people while they live together for the summer and also embracing there Italian culture. The difference for the Jersey Shore cast is that they do not come from wealthy parents and are only living together for the summer, until they part their own ways again. The paradox between art and social justice would be that art can be shown to fight for and against social justice. In this essay we will be comparing how The Hills is showing the dominant ideology of an upper white class structure that fights against social justice, while Jersey Shore is fighting for social justice by not showing the dominant ideologies of upper class, instead showing working class Americans. The essay will compare the two p... ... middle of paper ... ... In the end we can see how the paradox of art and social justice excites in our main stream media, through the two examples of the hills against it and Jersey Shore for social justice. Works Cited Bailey, A. (1998). “Privilege.” Journal of Social Philosophy (pp. 104-119). Blackwell Publishing. Bordo, S. (1993). “Hunger as Ideology.” Unbearable weight: feminism, western culture and the body (pp. 99-134). Berkeley: University of California Press. Edelman, M. (1995). “The Cardinal Political Role of Art.” Art to Politics: How Artistic creations shape political conceptions (pp. 1-14). Chicago: University of Chicago Press. Edelman, M. (2001). “Images.” The politics of Misinformation (pp. 11-17). Chicago: University of Chicago Press. Frankenberg, R. (1994). White Woman, Race Matters: The Social Construct of Whiteness. University of Minnesota Press.
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Here, Morrison not only states that political art is better than art which is simply beautiful, but also implies that it is the responsibility of the artist to create art whic...
Over the decades, art has been used as a weapon against the callousness of various social constructs - it has been used to challenge authority, to counter ideologies, to get a message across and to make a difference. In the same way, classical poetry and literature written by minds belonging to a different time, a different place and a different community have somehow found a way to transcend the boundaries set by time and space and have been carried through the ages to somehow seep into contemporary times and shape our society in ways we cannot fathom.
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.
Before you begin reading this paper, look through the appendix. Are you shocked? Disgusted? Intrigued? Viewers of such controversial artwork often experience a wide spectrum of reactions ranging from the petrified to the pleased. Questions may arise within the viewer regarding the artistic merit and legitimacy of this unorthodox artwork. However, art's primary purpose, according to Maya Angelou, “is to serve humanity. Art that does not increase our understanding of this particular journey or our ability to withstand this particular journey, which is life, is an exercise in futile indulgence” (Buchwalter 27). To expand on Angelou's analogy, because everyone experiences a different life journey, art is different to everyone. In other words, art is subjective to the viewer. The viewer creates his own definition of what is art and what is not art. Some may recognize the artistic value of a piece of artwork, while others may find it obscene. Some may praise the artwork, while others will protest it. Censorship is derived from these differing perspectives on artwork. Through censorship, communities seek to establish boundaries and criteria that limit an artist's ability to produce “proper” artwork. However, some artists choose to ignore these boundaries in order to expand the scope of art and, in their view, better serve humanity.
Jane Golden demonstrates the Philadelphia Anti-Graffiti Mural Art Program that has changed the appearance of the city in a positive way and that gives people a way to embrace how they feel. While Harriet F. Senie in Reframing Public Art and is stating that most public art is being ignored by people and is slipping away into urban-scape. Public art is often ignored art, we don’t know how those pieces of art are actually successful. Public art such as sculptures
This essay will focus on political and social printmaking in the 1960s onwards and it will show how these artists used printmaking to express political views of their times. Pop Art had emerged five years prior to the 1960’s; the Pop Art movement presented a challenge to traditions of fine art by including imagery from popular culture. It was the visual art movement that characterised a sense of optimism during the post war consumer boom of the 1950's and 1960's. Warhol was the leader of the Pop art movement; he was a major influence for socially conscious art work in the 1960s. Warhol was also a postmodernist artist; he broke down the barrier of high art and low art, much of Warhol’s work went onto address many social/political issues in the 1960s which were produced using the medium of silk screening, although he denied any interest in politics, Warhol did create silkscreen prints Red Race Riots, of 1963 (fig 9), which were based on photographs of the civil rights protesters in Birmingham, and he also created The electric chair, of 1971 (fig 10) which is a haunting image of the execution chamber at Sing Sing. Over the next decade, he repeatedly returned to the subject of the chair, reflecting on the political controversy surrounding the death penalty in America in the 1960s. Warhol presented the chair as a brutal reduction of a life to nothingness, the image of an unoccupied electric chair in an empty execution chamber became a poignant metaphor for death. Warhol strived to communicate the true feeling which is aroused by this terrifying instrument of death.
This paper deals, in broadest terms, with the questions of how artwork is connected to the changes and dynamics that prevail in a society. To describe these changes, I will investigate how a specific type of art reflects its social content in contemporary societies. My analysis is carried out by closely looking at the Pop Art movement, especially with Andy Warhol, who has come to be known as one of the greatest artists of the 20th century. It will be argued that Pop Art managed to successfully articulate its time, and in so doing, it became a widely influential art movement whose effect is still very much existent in today’s world of art. In order to prove its claim, this paper relies on the theory of “the field of cultural production” by Pierre
There seems to be the overarching idea of whether an artist should focus on creating their own work, or if they should use their work to aid their surrounding community in some way. At times, using art for social activism can cause controversy. It may be that the artist could never depict perfect activism in their art, and that it may never please every viewer. However, it may not be that all art as activism should be avoided. If there were none of these works, critical conversations may have never begun. In fact, it might be good that this style of art does not please everyone. If this is the case, then those who view the art are more likely to talk about the subject at hand instead of going about their day and ignoring the problem at
The art in a social justice movement is used to further educate individuals while entertaining them; one example is the 1978s classic The Wiz. The Wiz was created during the Black Arts Movement to illustrate historical and political issues in the African American communities. If one watches The Wiz closely one can see the how the Scarecrow character is used to demonstrate how African American mental mislead. The Scarecrow was told over and over by the Crows he was not smart enough to get down off of “dis here pole”. The Scarecrow believed the Crows and felt he was dumb and not good enough. However, the Scarecrow was very smart, but due to years of being mental beat down he could see it. This has happened so many times in African American history. African Americans have
This chapter examines two forms of practice that communicate messages from a group or an individual to the public, cultural production and political public speaking in the light of Marxist cultural theories. The review of writings about the practice of art by mid-20th century Marxist thinkers makes one thing clear - aesthetic utterances by artists and cultural figures fulfil a role in the political and social discourse and the importance of this role within the context of class struggle must not be ignored. The role of aesthetics as viewed by Marxist theorists such as Adorno and Horkheimer is to educate and inspire the public to live a life more worthy of living. (Adorno, 2006, p. 39) This chapter argues that cultural practitioners have a responsibility to encourage the public to confront their social and political conflicts.
Having realized art as a structured cultural phenomenon, and having emptied its direct and apparent meaning, it is possible to identify all its possible significations. Interestingly enough, I find that art reveals many diametrically opposed significations: expression and oppression, bias and acceptance, individual and society, creativity and confinement, and freedom and convention, among others. Art signifies the de-politicization of our culture, for even the most political of pieces cease to cause a stir among the masses.
Throughout time, artists have yearned to make a living off of the work that they create. Artists have been both instigators and creators of many social and political ideas, sharing their thoughts and opinions through their work. Just like America strives to make itself known as a relatively new and independent country, new artists struggle to make themselves stand out among the older and more well-known artists. The delicate environment that maintains their source of ideas and creativity is at risk of being overcome by the business of art. In the controversy brewing over creativity in modern times, artists are going to have to select a side, and the structure of the artistic world as a whole rides on their choice. Some connoisseurs of art believe that artists should not be paid for their work, because it will affect the quality in a negative way. They believe that it will be rushed, and done in vain, to try and pay its creator’s next bill. On the other hand, though, how are artists supposed to support themselves and their work? No artist would willingly work a second job if they could turn a profit from their personal creative outlet. The value of art, as well, should be decided by the quality of the art, and not be chosen on the identity of the artist or the reputation of a middleman. Overall, it would be healthy for society as a whole to be more conscious about defining the separation of art and business.
Art is not useless as Oscar Wilde stated; nor is it the death of logic by emotion as Plato supposed. Art is an activist trying to inform and shape the social consciousness. Art by nature is critical and questions how the world is perceived. These questions are pivotal in creating change within society. The Armory Show, a major turning point in American art, for example, was inspired by shifting perceptions of the aesthetic and a stirring toward modernity. The Armory Show was an artistic rebellion against the juries, prizes, and restricted exhibitions that excluded unacademic and yet t...