“Social Commentary”
Social commentary is the act of using rhetorical means to provide commentary on issues in a society. This is often done with the idea of implementing or promoting change by informing the general populace about a given problem and appealing to people's sense of justice. Social commentary can be practiced through all forms of communication, from printed form to conversations to computerized communication ().
Social commentaries have been present for as long as humanities have been around. During the beginning of humans relating to matters surrounding the cultural with religion, political, or other appearances of involvement in a society that has captured the attention of those who feel the need to be corrected. Most writers of social commentaries, sense at hand an instinctive sense of uprightness and overall mortality that we retain innocently by means of the benefit of being human.
` In postmodern times, countless contemporary connection artists use figural textiles along with media to transform
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Milton Ernest "Robert" Rauschenberg was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his "Combines" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance (). Rauschenberg was quoted as saying that he wanted to work "in the gap between art and life" suggesting he questioned the distinction between art objects and everyday objects, reminiscent of the issues raised by the "Fountain", by Dada pioneer, Marcel Duchamp( ). Rauschenberg expressed art in a different form because he knew he could recreate
Modris Eksteins presented a tour-de-force interpretation of the political, social and cultural climate of the early twentieth century. His sources were not merely the more traditional sources of the historian: political, military and economic accounts; rather, he drew from the rich, heady brew of art, music, dance, literature and philosophy as well. Eksteins examined ways in which life influenced, imitated, and even became art. Eksteins argues that life and art, as well as death, became so intermeshed as to be indistinguishable from one another.
Art has always been considered the effervescent universal tool of communication. Art does not require a concrete directive . One sculpture,drawing or written creative piece, can evoke a myriad of emotions and meaning . Artistic pieces can sometimes be considered the regurgitation of the artist's internal sanctum. In Richard Hooks graphic painting,Adoption of the Human Race, the effect of the imagery,symbols ,color and emotional content projects a profound unification of a spiritual edict.
At the San Francisco Museum of Modern Art, the Rauschenberg art piece was definitely one form of art I once did not consider to be art. The artwork is not exactly a painting to me but certainly an illustration of something that is connected to real day to day objects. It was created by the artist Robert Rauschenberg in 1954. It is oil on canvas painting which is eighty by ninety six in size and the materials used are oil, paper, fabric and metal which are all on wood. It looks quite messy, with materials like newspapers, cut out fabrics, the colors’ drips and how they are splashed around. The image doesn’t look attractive but it sure does attract different ideas from the viewers on what the image itself is trying to portray.
What is a discourse community? According to John Swales, a linguistics professor at the University of Michigan, “A discourse community has a broadly agreed set of common public goals” (220). These common goals could be that of set rules or mission statements. In Addition, “A discourse community has mechanisms of intercommunication among its members” (221). This means that these communities have their own general, yet specialized way, of communicating. He also states that, “A discourse community uses its participatory mechanisms primarily to provide information and feedback” (221). He states that the use of emails, text, newsletters are in place to communicate information and feedback. Swale’s mentions the development of lexis for communication purposes in a discourse, a type of specialized language. Overall, a discourse community is a community that has its own structure and communication that is different from any other discourse. Within my discourse community of patient transport, one must be a patient transporter to understand the procedures.
Whether being said or being written, there is always a purpose behind the way words are utilized. Words, oftentimes, educate, inform, or even deceive the minds of individuals, but the true power they derive from has brought about the contribution of others resulting in effective outcomes. Although words hold many different purposes, its key motive is evident when used to sway an individual’s position in public controversial matters. The influence that writing and speech can induce, based on the use of words through diction, tone, and pathos, is what creates change in individual’s perspectives on social views.
In chapter five of Suitably Modern, Mark Liechty discusses the action of “doing fashion” and how it affects the middle class and consumption in Kathmandu. Chapter five poses the question; what is new and what is not? This concerns the class distinctions and if modernization is actually occurring. The middle class in Kathmandu is claiming its own domain through clothing and ostracizing themselves. The author deems this action as adornment he defines it by stating, “It is used to set individuals and groups apart from some and to signal sameness”. Adornment can be a class distinction but also a gender role distinction. Women practice adornment to be indifferent in their relationships with men. For example women can chose to use flashier make-up which can distinguish a married woman from an unmarried woman. Liechty associates fashion with freedom. Film coming to Kathmandu quickly generated the modernization of fashion and consumption. Films exposed the residents to different types of fashion. Ultimately, the middle class wants its own cultural zone; through fashion and consumption it hopes to completely fit in with one another and still be distinct from other classes.
In the book “Ways of Seeing,” John Berger explains several essential aspects of art through influence of the Marxism and art history that relates to social history and the sense of sight. Berger examines the dominance of ideologies in the history of traditional art and reflects on the history, class, and ideology as a field of cultural discourse, cultural consumption and cultural practice. Berger argues, “Realism is a powerful link to ownership and money through the dominance of power.”(p.90)[1] The aesthetics of art and present historical methodology lack focus in comparison to the pictorial essay. In chapter six of the book, the pictorial imagery demonstrates a variety of art forms connoting its realism and diversity of the power of connecting to wealth in contradiction to the deprived in the western culture. The images used in this chapter relate to one another and state in the analogy the connection of realism that is depicted in social statues, landscapes, and portraiture, also present in the state of medium that was used to create this work of art.
"4 / Ceremony and Society." Art Through Time: A Global View. N.p., n.d. Web. 20 Apr. 2014.
In 1917, Marcel Duchamp submitted his urinal, the Fountain, to the American Society of Independent Artists . The urinal was taken from J. L. Mott Iron Works in New York City, rotated ninety degrees and signed “R. Mutt.” The name “R. Mutt” was an alias he created to sign the piece. “R” stands for Richard was slang for a rich man, and “Mutt” refers to a cartoon character from the show “Mott and Mutt.” The American Society of Independent Artists was an un-juried show , making for an opportune time for Duchamp to submit his work. Although the show was not juried, the piece was not accepted into the show for multiple reasons.
I will also be discussing the influence that Elsa Schiaparelli has been having on the distinct creation of surrealism in fashion, focusing specifically on how she became the leading figure in merging art with fashion by introducing surrealist ideas in her designs. Also her collaborations with artists such as Salvador Dali, Man Ray and Jean Cocteau will be discussed in this essay.
Modern art runs a very important role in man’s life throughout history, because it that does not only give us inspiration but also the freedom to express ourselves through the use of different mediums.
Ever since their invention many centuries ago, clothes have been used as a way of communicating. The message communicated relies on a number of factors including the social background of both the communicator and the receiver, and the context in which the message is communicated. Although at times the exact message or symbolism one is trying to portray may not be clear, it is evident that clothing has long been embraced as one of the best ways to project one’s desired personal image to those around them.
I feel my work is a resemblance of Robert Rauschenberg in a sense of innovation and expanding the use of material and mediums. Rauschenberg was well known for his ability to combined nontraditional material and objects creating a single - unified piece. Much of Rauschenberg 's work consisted of employing innovative combinations. Though, Rauschenberg was both a painter and a sculptor and implemented a combination of both, he also worked with photography, printmaking, papermaking, and performance -allowing him to expand his ideas and innovations. Like Rauschenberg, much of my work is based on combining different elements and media to create singular bold works. With my recent work, it manifests into a composite of sculpting and painting leading
The face is a central organ to personal identity. With it we can communicate human expression, feelings and characters with as little as the blink of an eye. On a deeper level, the face can be an art form that speaks to a universal understanding of the mind. Olivier De Sagazan uses the face to challenge conventions. He exposes human rawness and looks at cultural taboos. Sagazan’s artwork cannot be pinned down by language but by raw emotion. His unsettling performances represent visions of primitivism, agony, occult and other ancient cultural art forms that cover or deform the face in ways that can be both beautiful and confronting. Leading us to question, “What are we? Humans? Or animals? Or savages?
To begin with, I shall look at what fashion is; it is a currently popular style or practice involving clothing, footwear or accessories. It mostly refers to the current trends in looks and dressing style of a person (Cumming 234). In most cases, fashion is confusedly related to costumes; when a person talks of fashion they are seen to mean fashion in terms of textile. Fashion is seen to originate from the Western world and it is copied by other places. In this paper, we shall look at how fashion affects lifestyles and the group of people who are affected most. The paper further investigates how media is used to transmit fashion from one region to the other. Although it has been seen to affect people’s lives many people have different perspectives on fashion and dressing.