One great notion I have developed over the years is that every human has gone through some meaning experiences in his/her life that he/ she can identify with when such experience is depicted through an artwork, painting, photography, or any form of media. After coming in contact with Dorothea Lange’s Migrant Mother, 1936, artwork (fig 4.151), I feel more connected to this artwork because it speaks directly to me and draws my attention to my personal life experience. This artwork is more of Leo Tolstoy’s definition of art that views art from a social prospective. Lange’s Migrant Mother artwork shows a mother’s strength and determination in the time of extreme need. Observing this artwork, we can conclude that the there’s always a strong, natural
“It is time to wake up Washington as it has never been shocked before,” were the famous words spoken by black labor leader A. Philip Randolph. After WWII in the 1940’s African Americans wanted to see change following the war. African Americans became more assertive for equality and the rights they knew they should be given. During this time the NAACP worked to end the discrimination within the armed forces. There was an organization called CORE, congress of racial equality that wanted to protest without using violence, which lead to the sit ins in the south that challenged the Jim Crow laws. During this time artist, Elizabeth Catlett created her painting” Civil Rights Congress” in 1949. The image portrays a little African American boy about
Chief among the world’s frightening artworks are Gustave Dore’s 1861 Dante’s Inferno wood engraving. Dore’s depictions include over 63 scenes from Inferno, of Dante’s Divine Trilogy. A particularly frightening piece is Gluttony engraving. The engraving depicts the poet Virgil and Dante in the third layer of hell. The duo huddles together among a swarm of gluttons lying in a shallow sludge of human digestive fluid. The artist masterfully expresses various human forms of suffering through a process of engraving the original piece on a wooden stamp, and repeatedly stamping it onto other papers. The work was refined after every few weeks, until the stamp was completely ruined.
Australian Arts and Crafts movement was strongly influenced by the formation of Aesthetic movement and Arts and Crafts exhibition societies and proliferation of design works in the 1880s through the 1890s across Europe and America. The Arts and Crafts movement has emerged to counter the industrial changes followed by the Industrial revolution in Victorian England in the mid-19th century. It was a social movement against the industrial changes that are producing inferior quality and cheap monotonous products manufactured in the factories. As a consequence, it recalled the traditional handicrafts by the skillful craftsman using natural forms, functional, and stylized simple lines . Also it referenced to the medieval Gothic styles and it is characterized by its flatness and simplified natural motifs that are showing the influence of Japanese Art.
The painting that I chose to analyze was William Maw Egley’s Omnibus Life in London (1859). Painted on an oil medium, it depicts a scene of an omnibus, a horse-drawn carriage that acted as public transportation, pulled over at a certain stop along a particular route (Tate). In the painting, it features a crowded bus as more people attempt to board it. There are various people from every type of social class, which will be examined during the contextual analysis section to interpret the meaning historically. Also, this paper will analyze the formal structure of the painting through color, lines, space and mass, and composition. And furthermore, recognize the symbolism documented in the painting for iconographic analysis. In doing so, this will highlight and comment on important characteristics of Omnibus Life in London as it yields new information regarding the emerging shift in social inequality.
Chicano art possesses a true aesthetic, mirroring a diverse and ever-changing Chicago reality. Today's Chicano art is multipurpose and multifaceted, social and psychological, American in character and universal in spirit. Chicago is considered as people's art movement, outside of museums and hierarchy, so it continues to establish radical or protest art. Since most Chicano artist continue to be rejected for the creative works due to cultural bias therefore, Chicano art does not appear in museums, alternatively motivating the tension between artists and art authority. Chicano art can be expressed as the experiences Chicanos went through by deciphering codes in images, signs, and symbols. Although Chicano artists continue to address social justice
To a great extent, Diego Rivera’s artistic work portrayed and embraced Socialism in Mexico. Rivera’s participation in the Mexican Communist Party added depth and meaning to his work by overshadowing many global socialist movements. Much of his Socialist work was attributed to his lucid observations of social inequality, progressive ideas and educational environment in Mexico and Europe.
This cartoon showed cooks (labor union, anarchists, socialists, and Knights of Labor) fighting each other over the broth (labor interest), and implied the lack of unity with too many groups fighting to represent the workers. Some of the union groups like AFL also excluded African Americans, Chinese workers, women, and unskilled workers from membership. There were also different goals of unions mixed in with those of anarchists and foreign influences. In addition, the association of the labor movement with the anarchists further undermined its cause in the public eye.
Readers then begin to feel sympathy for these laborers who value a person’s life and do not intend to harm others to gain rights. Consequently, this guides the audience to support the workers and help them improve their conditions. Furthermore, Chavez incorporates an anaphora into his writing by repeating “we” in paragraph five. The repetition conveys a sense of emphasis about how the laborers act in nonviolent ways. By identifying the laboring class as peaceful, the writer gains the assistance of the readers. This further encourages the laborers that being nonviolent works and thus fuels their revolution. Continuing on, Chavez reminds the readers that the laborers experience “feelings of frustration” during their struggle for better rights. Drawing the attention of the readers to the line, the aliteration emphasizes the laborer’s feelings. Readers now gain insight on how the laborers feel and wish to support them. This enables the laborer to keep searching for better conditions. Moreover, the way “Gandhi taught the boycott” is “most nearly perfect” in Chavez’s eyes. Including a renowned figure like Gandhi highlights the strength of nonviolent actions and demonstrates to the audience that peaceful
Facing difficulties in Europe, many Europeans sought refuge and work in the United States. The “new” immigrants, who were unskilled and illiterate, found jobs in factories(Davidson and Stoff[Page 603]). In an effort to increase profits, industrialists forced their workers to work for long hours, with minimum wages, and sometimes under hazardous conditions. Some Americans began to form Labor Unions. The purpose of Labor Unions was to protect workers rights. When talks and compromise failed, Labor Unions would strike to achieve their goal. Different Labor Unions had differential beliefs. The Knights of Labor and the American Federation of Labor (AFL) were two Labor Unions that advocated for shorter hours, better pay, and imporved working conditions, The Knights of Labor believed in no child labor, and equal pay for immigrants, African Americans, and unskilled workers. They believed both men and women should also get equal pay. However, the American Federation of Labor (AFL) only hired skilled workers. They advocated for shorter hours, better
In chapter three of Guisela LaTorre’s book Walls of Empowerment, she discusses the problems with graffiti and mural art and compares graffiti to mural art. She also discusses the gender inequality within graffiti artists and muralists, the influences of graffiti on LA, and east coast influences on muralists in the 1980s. Finally, she concludes that although mural art gains more approval than graffiti, both art forms serve to reclaim space in which the government and society traditionally denied to disfranchised
“Bitumen” traces the sublime from its 18th century inception to more contemporary representations. First postulated by Edmund Burke, the sublime was traditionally described as a feeling of astonishment and terror when faced with a vast and incomprehensible object, which ultimately referred to God via nature. Noticeably influenced by Burke’s theories, Romantic art from the early 19th century frequently sought to depict the sublime. Paintings such as Caspar David Friedrich’s Wanderer Above the Sea of Fog and J.M.W Turner’s Slave Ship, which appear in “Bitumen”, are apposite to many of Burke’s tenets. They conjure the sublime by presenting an awesome and terrible nature which figures largely in their works.
Jane Elliot, one of America’s most respected speakers on prejudice and discrimination, is well known by her quote speaking of American identity, “We don 't need a melting pot in this country, folks. We need a salad bowl. In a salad bowl, you put in the different things. You want the vegetables - the lettuce, the cucumbers, the onions, the green peppers - to maintain their identity. You appreciate differences” (Elliot). Elliot emphasizes the importance of having diversity in the country and respecting the different cultures and identities. While Jane Elliot’s idea may seem modern, it is actually rooted in historical movement ever since the Modernism Era. Just as Jane Elliot expresses the idea of embracing diversity, so too did many artists and
The piece of Art, Smiling Girl, a Courtesan Holding an Obscene Image, painted by Gerrit van Honthorst in 1625 can be seen at the Saint Louis Art Museum. I was initially drawn to this image from across the gallery mostly due to the subject’s bright red dress with gold sleeves, it was one of the brightest colored images in the gallery. It is about three feet tall and two feet wide, it is an oil on canvas painting. As i approached the image, I was still intrigued as the image she is holding is of a naked man facing away, the subject in the painting seems to get enjoyment from this. To me this piece of art makes me curious, I want to know who this woman was and why she is holding that image. The artist seems to be communicating the importance of
There is something enticing about the idea of working together, of collective labour in our individual-focused, Isociety. Claire Bishop in her seminal book, Artificial Hells, comments that “Along with ‘utopia’ and ‘revolution’, collectivity and collaboration have been some of the most persistent themes of advanced art and exhibition-making of the last decade.” This revitalisation of the value of collaborative practice can be seen beyond art as it appears more broadly in society in the form of collective and collaborative movements such as the Occupy movement. The idea of working together for goals that go beyond that of commercial viability or financial gain seems to be gaining traction. Collaboration as a working method allows different ideas, points of view, skills and experience to come together in tension, and in harmony, and seems to be fertile ground for these two emerging artist duos of Alexandra Spence and Katrina Stamatopoulos and Akira and Nathan Lasker.