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role of religion in art
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role of religion in art
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Mona Hatoum
Most art scholars and critics examine the work of Mona Hatoum in relation to her ethnic and geopolitically charged background. In her own writings and interviews, however, Hatoum cautions against this "journalistic" approach. For her, the most important element of her art is its relationship to the body. When Hatoum immigrated from the Middle East to England, she immediately felt a sense of displacement when she perceived a mind/body disjunct that contradicted her own cultural experience:
…it became immediately apparent to me that people were quite divorced from their bodies and very caught up in their heads, like disembodied intellectuals. So I was always very insistent on the physical in my work (Hatoum/Brett, 59). We relate to the world through our senses. You first experience an artwork physically…Meanings, connotations and associations come after the initial physical imagination, intellect, psyche are fired off by what you've seen (Hatoum/Archer, 8).
I weigh this statement against theory by performance scholar Nelly Richard:
The body is the physical agent of the structures of everyday experience. It is the transmitter of cultural messages…a repository of memories, an actor in the theatre of power, a tissue of affects and feelings. Because the body is at the boundary between biology and society…in terms of power, biography and history, it is the site 'par excellence' for transgressing the constraints of meaning (Richard, 208).
Focusing on four works by Hatoum, I take a position that respects the artist's own intent and uses the body as a starting point for analyzing her work. However, I argue that it is necessary to consider her background in relation to the content of her art; it is because of her background as an exile from political violence that so much of Hatoum's work evokes a sense of danger by eliciting a visceral response from the viewer. I also argue that Hatoum's work insists that the viewer recognizes a second body, the implicit body of the oppressed. That insistence comes primarily from two elements of her background: her direct experience of living in the shadow of oppression, and her experience with feminist groups as an art student in London. Thus, in Hatoum's work, two bodies-the body of the viewer and an implicit body--engage in a dialectic.
Necessarily then, I offer a brief glimpse into the background of Mona Hatoum. She is a Palestinian whose parents were exiled to Lebanon before she was born.
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.
Women in pictorial history have often been used as objects; figures that passively exist for visual consumption or as catalyst for male protagonists. Anne Hollander in her book Fabric of Vision takes the idea of women as objects to a new level in her chapter “Women as Dress”. Hollander presents the reader with an argument that beginning in the mid 19th century artists created women that ceased to exist outside of their elegantly dressed state. These women, Hollander argues, have no body, only dress. This concept, while persuasive, is lacking footing which I will attempt to provide in the following essay. In order to do this, the work of James Tissot (b. 1836 d. 1902) will further cement the idea of “women as dress” while the work of Berthe
While studying art history in Pre-Industrial Visual Cultures this semester, one theme has become painfully obvious. There are few if any women artists included in the study of art history. If you dig deep into the books you can find mention of many unknown, unrecognized and often times very talented women artists from the past. Women in history are simply not recognized, and this is due to a large extent to their exclusion from the art world. My paper chooses to focus on a few female artists of the sixties and seventies who sought to make up for past history and ensure women were known. These women invented their own language for art making, which included sexual imagery, and left no doubt of their gender. These women made art as women, instead of trying to make art like men and be accepted. My paper therefore focuses on these women, who although werenít involved directly in pre-industrial art history were very much affected by the exclusion of women from it.
“But the body is also directly involved in a political field; power relations have an immediate hold upon it; they invest it, mark it, train it, torture it, force it to carry out tasks, to perform ceremonies, t...
2. The body as a subject is evincing humanity beyond cultural construction and linguistic formulation.
Our body is made up of numerous types of cells that each has a specific function. We go through our daily life not even thinking about the smallest living organisms in our body that help us perform every task. Without these cells we would not live or maintain any balance inside our bodies. These cells perform functions just as we do such as take in nutrients, excrete waste and even reproduce. In this replication of cells, each cell performs a delicate process two create an exact replica of itself. If done incorrectly, it could lead to any type of genetic error. In this essay I will discuss the events of mitosis and meiosis and compare the two.
The feminist art movement was a movement that set into motion to fight for equality, women’s liberation and women’s rights overall. The view of artistic production through the female perspective brought high visibility to the female artist, and was the beginning of many influential female artists whom made both political and strong social statements through the centuries. The feminist art movement became a platform in which female artists could rebel and express their opinions, views and ideas. By the 1960’s women had reached their tolerance level with being good enough to be placed on works of art for gawking purposes, but not good enough to be seen as an artist. This was a time when female artist began producing art that reflected the lives of females from their perspectives and not from a man’s
...e multiplicity of meaning embedded in these works suggests the importance of the body as a liminal site, a site of inscription and meaning making, in both historical-contemporary and more recent feminist work. It is, of course, unlikely that Antin or Kraus draws directly upon any singular theory explicated in this essay. Both artists are, however, undeniably interested in the formations, constructions, and shifts of subjectivity. Both Carving: A Traditional Sculpture and Aliens and Anorexia address the body’s uncontained boundaries, exploding the dual Cartesian model of interior/exterior self. As feminist artists, both Antin and Kraus are also surely aware of the complexity of discourses around food, self, and the body. Through the artists may not be speaking “to” or “through” any particular theoretical model, they are contributing to these discourses all the same.
Thus it enables a state of being that is in the moment (it is present). The aesthetical (in terms of material aspects) of the body are also something that is a definite variable. When the body undergoes ‘embodiment’ it is the process of the locus, culture, traditions, biological traits of the body (sex, race) that plays a role in the construction of this experience (which happens on a daily basis) and at the same time simultaneously confines it (2009:3). ‘Embodiment’ is forever shifting and growing; as one’s experiences are continuously happening and thus making it a highly subjective experience as well (2009: 4). This process then allows the body to become something that is more than just a biological construct; it allows the body to become something that is able to express itself unto other beings in both words (the patterns developed when one is speaking and the language styles that one has been influenced to use) and non-verbal communication (the shape and form the body takes when moving in space or even sitting or standing still in a space drawn from experienced emotions and the person’s historical, social and political background). Therefore it is suggested that ‘embodiment’ is something that is a network of interlinked signs showing past experiences and continuously reshaping and forming to show new signs based on new experience (Thapan 2009:
Throughout this essay I hope to illustrate how the development of Feminism was shown through art into Post Feminism and how feminism not only gave rights to women but to other 'Minorities ', I also plan on showing how strong Political influence is involved in art and feminism.
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.
People always talk about how important it is for companies to have a good leader, someone who not only keeps the blue numbers, but also achieves a loyalty from customers, pleasant working environment, successful business partnerships and ahead of the competition.
Summary/Plot: The movie Zero Dark Thirty is a fictional account, loosely based on the finding and killing of Osama Bin Laden and his associates. The film details U.S. and foreign government interagency cooperation between organizations, such as the military, CIA, FBI, and Pakistan ISI, to track down and kill Osama Bin Laden. The story centers on certain CIA agents and the methods used to extract information from alleged terrorists so Bin Laden’s location could be determined. Set in the threatening regions of the Middle East, CIA operative Maya, whose only job at the CIA has been to find where Bin Laden is hiding, and Dan, who teaches Maya how the CIA operates in Pakistan, are assigned to work together in Pakistan’s U.S. Embassy. While in Pakistan, they interrogate and torture a prisoner thought to be connected to Osama Bin Laden. After a difficult interrogation, the prisoner finally tells the CIA about a messenger who works for Osama Bin Laden. The prisoner ends up giving the CIA the wrong name of the messenger, but they find out the real name by tapping the messenger’s mother’s phone. By tracing the call and following their suspect back to the compound by the Pakistan Military Academy, SEAL Team 6 were able to find and eventually kill Osama Bin Laden. In the end, Maya confirms the body to be Osama Bin Laden.
Telophase I and cytokinesis: The chromosomes finished their move to the opposite poles of the cell. At each pole of the cell a full set of chromosomes get together. A membrane forms around each set of chromosomes to create two new nuclei.Then single cell pinches in the middle to form two separate daughter cells in which each contain a full set of chromosomes within a nucleus. This process is known to be cytokinesis.
...elope reforms around each chromosome set, the spindle fibres disappear, and the nucleolus reforms as it was in the parent cell. (6) Finally, in telophase a cleavage furrow becomes evident and the cytoplasm of the cell divides in a process called cytokinesis, resulting in two separate and independent but identical diploid daughter cells.