Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
How can culture influence one's artwork
How art affects culture
Cultural influences on art
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: How can culture influence one's artwork
According to Marcel Proust, “The real voyage of discovery consists not in seeking new landscapes but in having new eyes.” GOMA’s captivating exhibition Creative Generation achieves this, where viewers enter the space with knowledge and certainty and leave with unanswered questions. This exhibition comprises the artworks of Queensland senior students, displaying a variety of allegorical meanings and media ranging from film to sculptural pieces. Despite the diversity of this exhibition, Creative Generation explores the themes of childhood, home and identity; human experience, religion and beliefs; and environmental and societal commentary through the eyes of Australia’s youth (https://theweekendedition.com.au/events/creative-generation-excellence-awards-in-visual-art/) Through the use of personal experiences and intense psychological analysis, these artists have stripped away the fake shell of ourselves we present to the world, exploring the relationship between the human psyche and reality and ‘…the journeys we take to find ourselves’ ( ). This is highlighted through ‘Missing pieces’ by Catriya Clarke and ‘The past; the city; loneliness’ by Riley Dent. Creative Generation magnifies and deconstructs the concept of identity and personal history. This is …show more content…
This visually stunning animated film tells the story of school student Jimmy, who lives a humdrum life of studying, seen through the sterile white classroom and soft colour palette. One night when studying, Jimmy falls asleep and wakes to the screen saver depicting an infinite array of stars. Inspired, Jimmy looks through his hollow pen, the view creating the illusion of a vast and magnificent solar system. His eyes opened, Jimmy began to view the world in its infinite vigour and vibrancy, taking joy in the little
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
Contemporary art is the art that has been and continues to be created during our lifetimes, which can include and represent the Australian culture, politics and music as well as in art forms such as portrait and landscape. Contemporary art is defined as art that is current, offering a fresh perspective and point of view and often employing new techniques and new media. Current art means work by both emerging and also established artists. Rosalie Gascoigne and Imants Tillers are honoured for their contribution showing the Australian landscape in fresh, new and transformational way. Whilst both are similar in their use of text and original interpretation of our landscape they are vastly different in their approach and creating meaning for their
Rosie Gascoigne, is an artist who has aspired an appreciation for undiserable remnants and utilised with them in purpose to produce an assemblage of work that sees into a reflection of the past and present landscape of Australian society. Her growing motivation has taken further interest and development as the founding layers of her work through her deliberate perception, subject to the preservation of the environment and surrounding landscape. Gascoigne’s work offers an insight into deep country outback life of an Australian individual and introduces conceptualities that mirror a focus situated about ‘re-using’, ‘ recycling’ and understanding the insightful meaning present within everyday remnants. Her work is a collective gathering of selected materials to form a composition or an
It is divided into five parts ‘The Encounter’, ‘Philemon’, ‘The Shore’, ‘The Woods’, and ‘The Lost Children’, These profoundly crafted rhythmic lines will endure and resonate forever in the souls who read it. Rarely does a reader encounter such sheer beauty of timeless and compelling imagery in her debut book to stand apart as foremost publication in English literature.
The twentieth century has witnessed many transformations in the ways we produce and respond to works of art. It has seen the rise of altogether new media, approaches, and a wealth of new interpretative frameworks. The emergence of manufactured goods, modernism, and a ubiquitous mass culture contribute to the upheaval, in the 1960’s and 70’s, of established art practices and approaches. Pop Art emerges as an important response to, extension of, or parody of what Clement Greenberg called “Ersatz culture” and “kitsch”, which, to paraphrase Greenberg, represent the omnipresent abominations of commercial and replicated art (Greenberg 9). This essay will observe and discuss the interaction of Canadian pop culture, art, and identity in Joyce Wieland’s “O Canada (Animation)”, and will underline how works of Pop Art serve to elevate kitsch into “a new state of aesthetic dignity” (Eco 228).
The 21st Century appears to be headed towards a future of vast corruption and exploitation as a result of the often inhumane and uncivilised individuals who, over the years have become desensitized to poverty, war, consumerism, racism, mental illnesses and political corruption. As the world moves towards further democracy, and decentralization it is vital that art is given the opportunity to stimulate people’s awareness, participation and judgment. Arts purpose is not only to be a fulfilment of society’s visual needs but is needed be utilised as a function to alert people to society’s problems. Australian born George Gittoes, works within war zones to create confronting paintings, film, photography and prose that frequently portray man’s inhumanity to man. Gordon Bennett, also Australian, paints images that depict his own self questioning about his identity and the injustice towards Aboriginal Australians since the time of settlement.
Unlike Gordon Bennett, who grew up struggling from his Aboriginal heritage, Tony Albert, a founding member of Queensland's Indigenous art collective proppaNOW explores political, social and cultural issues that are relevant to Indigenous Australian in today’s society. Albert’s artistic practice has a range of media and applications producing 2D wall art, sculpture and installation based works. According to Albert, he began to see the ‘problematic representations of his identity’ (Art Monthly Australia, 2015, p.55) after discovering the work of contemporary Aboriginal artists Tracey Moffat and Gordon
Before beginning our discussion on the chosen Australian surrealists, background discussion of surrealism, its influence and impact, is necessary. Surrealism is the first international art movement in Australia. In fact, European surrealists perceive Australia as a “surrealist place” because of its vastness, its distance from the other continents and its appeal as a “down under”. When the surrealist movement b...
Aboriginal art is widely associated with the primitive and primordial nature of the Australian Indigenous culture. However, as it has become more popular globally, one must consider the authenticity of the Aboriginal art sold on the contemporary market. Eric Michaels essay, ‘Bad Aboriginal Art’ (Michaels, 1988) exposes his concerns with how we define certain art as being genuinely ‘Aboriginal’ and questions what external influences exploit and influence the validity and authenticity of Aboriginal art. The essay summons readers to question what they identify with Australian culture and whether or not White Australians have disordered the meaning of Indigenous art.
Composers effectively reflect and communicate how universal human experiences can explicitly modify an individual’s understanding and acceptance of one’s sense of identity and maturation. Goldsworthy’s novel Maestro, Don McLean’s song ‘Vincent’ and Baz Luhrmann’s film Australia all inter-relate within the deeper realisation of the impact the appreciation of art, and the development of understanding the concept of love acting as a compelling emotion can create towards one’s self-image.
The essay How You See Yourself by Nicholas Mirzoeff discusses the evolution of art. The author discusses the use of art to represent changing identities over the years including cultural practices and societal expectations. The selfie, according to Nicholas Mirzoeff’s essay, is the equivalent of a self-portrait in the previous centuries preceding the technological development required for the present day selfie. The essay explores the different periods and the significance of art, particularly self-portraits, the selfies of the time, and their development over time. The author focuses on different themes including heroism, gender definition, and the focus of an image. Mirzoeff effectively provides examples illustrating and reinforcing the themes he highlights in his essay.
Among the various pairs of artists listed, Do Ho Suh and Nancy Burson attracted my attention immediately. The former one is the representation of post identity and the latter one reflects the fluidity if identity. Suh and Burson share some similarities and have their own distinct features. I feel connected to both of them since they thought and emotion they intend to express happen to have the same stance as I do. In the modern society, the identity is always changing in a degree and it is definitely unstable due to some complexities.
“Children took the ruins of the 20th century and made art out of it” (Skip Angblom) .
Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation of one’s self.
Shields, Carol. "Leaving The Brick House Behind Margaret Laurence And The Loop Of Memory." Recherches Anglaises Et Nord-Americaines 24.(1991): 75-77. Print.