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Ai Weiwei’s art vs. Censorship
“I don’t want to be part of this kind of denying reality. We live in this time. We have to speak out” (Klayman). Ai Weiwei is an internationally known Chinese artist as well as activist, and his motivation and determination can be summed up by this quote. In all of his pieces, Weiwei critically examines the social and administrative issues facing China today. Many of his works exhibit multiple themes that can be interpreted in various different ways. This lends itself to the universal appeal of his art and makes it a more effective medium of conveying his messages to viewers. Ai Weiwei’s activist artwork—and activist artwork in general—is important to society because it effectively forces the viewer to engage in a self-reflective process that makes the viewer critically examine his or her own beliefs and world. Nevertheless, censorship greatly hinders the dissemination of the critical and thought provoking messages of Ai Weiwei’s art and makes his artwork less effective. In order to gain a better understanding of the relationship of Ai Weiwei’s activist art and the Communist Party’s subsequent censorship, I will examine Ai Weiwei’s influential childhood, his specific brand of activist artwork, the censorship of the Chinese government and the effects of censorship on the effectiveness of Ai Weiwei’s art.
Much of Ai Weiwei’s activism and artwork has been influenced by his experiences growing up. Ai Weiwei lived through a tumultuous time in Chinese history, with the Cultural Revolution, the Tiananmen Square Massacre and the Opening Up of China by Deng Xiaoping. Ai Weiwei’s father, Ai Qing was a famous poet during the Cultural Revolution. However, he was targeted in the Anti-Rightist campaig...
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Ai Weiwei’s activist art is effective in disseminating his ideas and forcing people to examine their lives, however, its effect is reduced by the heavy censorship of the Chinese government. The positive effects of Ai Weiwei’s art can be seen by examining and analyzing both Remembering and Sunflower Seeds. However, their presence in Europe rather than China is rather discouraging. Censorship is more damaging than beneficial to activist artists like Ai Weiwei, however, it does not mean that activist art is useless. The reaction of authorities to Ai Weiwei’s art and his kind of “immunity” that comes from his fame shows that his art is effective. His ideas might take time to spread; they might only change one individuals mind at a time. However, over time like the sunflower seeds, individuals can join together and become a great force.
Hung Liu is successful in creating a juxtaposing image that tells a story about the many aspects of her Chinese origins. According to the painting, not all life in China is surrounded by beauty and elegance, like many believe it to be based on the traditional historical customs. Liu makes her point using a brilliant yet subtle progression, moving from the ideal to reality. Making use of the various principles and elements of art in her work creates a careful visual composition that benefit and support the painting’s achievements as a whole. This oil painting, being approximately 13 years old now, will hold a special place in Chinese history for the rest of its existence. The ideas Hung Liu portrays in Interregnum may help reform a social movement in the country by making her viewers socially aware of the cruel conditions the Chinese are facing under Communist rule, and this is all made possible through the assimilation of the principles and
After Chairman Mao’s death, Ji-Li and the rest of China realize that he was never the right leader for China and instead of improving China’s society, he actually prevented it. In the end, Ji-Li knows she was brainwashed by Mao’s actions. The Communist Party told them what to wear, read, think, and how to act. They never let China be free to be who they are. It was not until Mao's death that Ji-li began questioning what they were told. “It was only after Mao’s death in 1976 that people woke up. We finally learned that the whole Cultural Revolution had been part of a power struggle at the highest levels of the Party. Our leader had taken advantage of our trust and loyalty to manipulate the whole country.” (Jiang, Chapter 18). Now, as an adult, Ji-li tries to bridge the gap between China and America. She loves the freedom she enjoys in America, especially that she does not have to worry about what she says or thinks, but she does not hate China. People can not use political corruption and injustice to get what they want out of society. Promoting equality and opportunities for all is key to improving society. We can not get behind beating people up or imprisoning them because they did not abide by society’s
In his poem, “Notes from the City of the Sun”, Bei Dao utilizes obscure imagery consistent with the Misty Poets and veiled political references to illustrate the struggles in Chinese society during the Cultural Revolution. The poem is sectioned into fourteen short stanzas containing imagery that are symbolic of the cultural hegemony in China under the rule of Mao Zedong. Bei Dao, born Zhao Zhen-kai, is an anti-revolutionary poet and one of the founders of a group known as the Misty Poets. The Misty Poets wrote poems that protested the Cultural Revolution led by Mao Zedong. Therefore, a lot of Bei Dao’s poems speak out against the Cultural Revolution and the restrictions that it placed on any form of art. Bei Dao’s poetry is categorized as “misty” because of the ambiguity in its references to Mao Zedong and the Cultural Revolution. An obscure imagery that occurs twice in “Notes” is the sun imagery. Another imagery that depicts the injustice of the Cultural Revolution is the description of freedom as scraps of paper. In the poem, Bei Dao also equates faith to sheep falling into a ditch; this is a depiction blind faith during the Cultural Revolution. The purpose of this essay is to analyze how Bei Dao’s use of the Misty Poet’s ambiguous imagery and implicit political context in the poem “Notes from the City of the Sun” to illustrate the cultural hegemony in China under Mao.
There is no better way to learn about China's communist revolution than to live it through the eyes of an innocent child whose experiences were based on the author's first-hand experience. Readers learn how every aspect of an individual's life was changed, mostly for the worst during this time. You will also learn why and how Chairman Mao launched the revolution initially, to maintain the communist system he worked hard to create in the 1950's. As the story of Ling unfolded, I realized how it boiled down to people's struggle for existence and survival during Mao's reign, and how lucky we are to have freedom and justice in the United States; values no one should ever take for
Ah Xian born in Beijing in 1960 left china following the Tiananmen Square incident in 1989, also known as tank man incident, and moved to Sydney Australia. Having moved from his native country, Ah Xian wanted his work to represent that “cultural identity is permanent and no matter what other places and influences one
York, Geoffrey. 2007. “Text-messages: the new Chinese protest tool.” Globe and Mail, Friday, June 1: A13.
Ai Weiwei was born during the Cultural Revolution in China of 1950s, he inherited a lot of his political knowledge from his father who was a poet called Ai Quig. Ai Quig was then later exiled with his family to re-education camps on the out reaches of a desert in 1958 for questioning government authority. After the Cultural Revolution, Chinese citizens were allowed to travel outside their borders again in 1970s. As a young man, the place that Ai Weiwei dreamed about going to was New York. He went to New York and was exposed to its western influences, its liberty and freedom of expression (Springford, 2011).Using photography Weiwei recorded and documented everything that inspired him. Weiwei visited galleries and art museums that exposed him to the world of conceptual art, becoming influenced by Andy Warhol and Marcel Duchamp. Ai Weiwei admired the ways of artists who could simply proclaim what was art and what wasn’t art, how Duchamp questioned art and when something gets to be art (Springford, 2011).Ai Weiwei came back to China in 1993 to take care of his sick father, and found himself drawn to his responsibility as an artist, to take the task of re-awakening his country through his art and to expose his thoughts on the corrupt and controlling nature of China’s government (Philipson,2012). Ai Weiwei has always been an outspoken artist. In the course of his art making, Weiwei has used a form of activism in his art, with political ideologies that exist because of the Chinese government. He also uses a sense of memory and the countrys past and history. Most of his art involves the public and their outlook of the government. Weiwei requests engagement from the public as a show of protest in his artworks (Harris & Zucker, 2009). When...
In his 1937 film Street Angel, Yuan explores the inequities facing Shanghai’s urban proletariat, an often-overlooked dimension of Chinese society. The popular imagination more readily envisions the agrarian systems that governed China before 1919 and after 1949, but capitalism thrived in Shanghai during that thirty-year buffer between feudalism and Communism. This flirtation with the free market engendered an urban working class, which faced tribulations and injustices that supplied Shanghai’s leftist filmmakers with ample subject matter. Restrained by Kuomintang censorship from directly attacking Chinese capitalism, Yuan employs melodrama to expose Street Angel’s bourgeois audience to the plight of the urban poor. Yuan presents capitalist Shanghai as a binary and deeply unequal society, at odds with the “more pluralistic sense of cosmopolitanism” desired by leftist filmmakers of the 1930s (Pang 62).
In many of the works we have read this year, there have been many critiques to the Chinese Communist ideals. These works solely critique the ideals of communism, and promote change in the way that it is implemented in life. The movie “Blue Kite,” tries to show what life was like under the communist government in China. By showing the people the true agony and suffering during the regime, they hoped to change the ideas of many people about communism. While the majority of scholars and students believe that “Blue Kite” is solely a critique of communistic ideals in China, I believe that it is a promotion of more progressive and democratic ideas shown through the Chinese government emphasis on little to no family life, and the visual and metaphorical
People have always expressed themselves through art, some people because they want to make their viewers think, some to protest current issues. Some gain support from the community that outweighs political controversy but some like Diego Rivera are censored due to their statements made through their art like in his piece, “Man at the Crossroads”. Diego Rivera is known for the mural he painted in Mexico City that was destroyed due to controversy. The art itself wasn’t the only protest involved in the situation, despite widespread protest throughout the current art community the mural was still destroyed due to the messages it sent.
Over the years art is becoming a way to express feelings without the need of violence. Ai Weiwei is one of the very well known protestant artists who made various types of art projects to speak against China's communist goverment and the injustices that have happened. No violence is used through these art projects because they are just simply pieces of art that speak by themselves. Through all this Ai Weiwei is able to bring awareness and get people to support his causes around the world. One issue which I feel very strongly about is the murders and disapperances of women in Ciudad Juarez, Mexico. Many families are affected by the disapereances of their daughters, sisters, mothers, and wives each year. To this date, it is still a mystery who is behind all these crimes, and not many people are willing to stand up and stop such autrocities.
The documentary called “Without Fear or Favor”, regarding Ai Weiwei, connects to traditional Chinese artist, as well as what we have studied in class in many ways. The political sarcasm found in Ai Weiwei work of arts, like jamming chairs and tables together, and then reassembling them with no nails is like the Ming dynasty. Ai Weiwei reminds me of Ni Zan, because they both experiences hardships from powerful leaders that banished them and their families to flee taking the possessions away. Ni Zan experienced Mongol invasion, just like Ai Weiwei lived through his father’s banishment. There is a distinct difference between him and the Four Great Masters, including being outspoken. He is continuously disobeying government orders, mocking society
Shortly after broadcasting this episode of the Jimmy Kimmel show on late night October 16th2013, controversy has raised among many Chinese-Americans, and later Chinese abroad. To them, the “joke” of “killing all the Chinese” does not seem to be fun. Thus, the protest of Jimmy Kimmel and ABC soon spread out among many of the Chinese-Americans and Chinese citizens nationwide to gather outside ABC’s...
On the other hand, keeping silent due to pressures from the white population means being shunned by the members of the Asian American population. I disagree with Chin’s ascertation that “years of apparent silence have made us accomplices” to the makers of stereotypes (Chin 1991, xxxix). I agree with Hongo’s argument that Chin viewpoint “limits artistic freedom” (Hongo 4). Declaring that those writers who do not argue stereotypes of the good, loyal, and feminine Chinese man or the submissive female, are in any way contributing to or disagreeing with them is ridiculous. Chin’s opinion that politics should be included in some aspect of every Asian American piece eliminates choice from writing topics for other writers. Authors are the voices of the people (whichever people they choose to represent) and should not be criticized for choosing to discuss issues other than those that Chin deems necessary.
Zhao, Y., (1998), Media, Market, and Democracy in China - Between the party line and the bottom line (Urbana and Chicago: University of Illinois Press).