Figure 1: Before and after edit of European influences in In a Piegan lodge (Curtis, In a Piegan lodge, photogravure, 1911 Driver lecture).
The ideological imagination of Indians being in complete harmony with the nature led to Curtis encouraging subjects to pose in the landscape in order to perpetuate an inseparable bond between the natural world and their surroundings (Jackson, 1992). Photographs of Indians are taken, such as the tribe gaining livelihoods and creating handicrafts from the nature (Jackson, 1992, p. 95), and referring to the subject as part of the landscape itself. Captions accommodating photographs are used to enforce a particular understanding of the image as opposed to other meaning that may be assumed by others,
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Curtis’s work represents the ideological construction of foreign cultures in the 'way of seeing' that is suitable for the audience of the photograph and the photographer. This illustrates the highly political motives of photograph, carrying multiple meanings in order to craft certain imaginations of the subject (Berger, 1972). As a result of the power that the photographer has on its subjects, certain messages and ‘way of seeing’ are depicted through photographs. For instance, expected gender roles are played out in photographs of the Indian subjects, portraying the expectation of Curtis and his audience of the masculine and feminine behaviour by the subjects conforming to such gender standards (Jackson, 1992). Indian men are captured in what Jackson (1992) describes as ‘active poses’, such as fishing or dancing, juxtaposed with the ‘passive poses’ of female subjects, photographed in more decorative postured of waiting and watching. Though it can be argued that the manipulation and selection of images by Curtis as an artist’s ‘creative manipulation’ of their work, Curtis’ photography was used as a scientific measure, and hence should be devoid of such influences (Jackson, …show more content…
314). This as then used to highlight the need of colonial expansion to ‘modernise’ and benefit colonies from the colonial advancements (Hall, 2009). The ‘backward’ Chinese tradition of deforming women’s feet is one such example that confirmed the need of colonial rule (Hall, 2009; 314). Hence, the camera was used during the imperial rule as a method of taking possession over the native people and their land (Corbey, 1993). Whilst the the camera lens was seen as a substitute to the human eye, it is now commonly understood to be far from true, as photographs were in fact carefully constructed, framed and contained in order to reflect the photographer’s imagination of the subject (Rafael, 2000). Now it is also understood that photographs are unable to truly capture the reality and entirety of the subject of the photograph - be it the people, culture, or landscape - and instead is the photographer’s representation and (Hall, 2009, adapted by Pink,
In Thomas King’s Green Grass, Running Water, many people take pictures of the sacred Indian Sun Dance. This urge to take pictures proves that many whites view Indians as a source of entertainment or as a curiosity.
For Emerson, the reticent beauty of nature was the motivator. To him, photography should be recognized because its still-life beauty was able to persuade the public’s appreciation of the life and nourishment
The nature in which we live is truly beautiful and something to preserve and treasure. When the Europeans first came to North America, they were immediately in love with the views they encountered. They were interested in wanting to know more about the land, the animals that peeked around, and the people who called it home. Artists such as, John White had heard the tales of what Christopher Columbus had described during his time in North America, which led to them wanting to make their own discoveries (Pohl 140). Everyone had their own opinions and views of the world, but artists were able to capture the natural images and the feeling they had through their paintings (Pohl 140).
According to the book entitled Ways of Seeing written by John Berger, the power of an image is extraordinary given that it can speak a thousand words. This has also been enhanced by the rapidly evolving technology that elicits more subconscious views about an image by anyone who sees them online or in real life. Some professional writers like Susan Bordo have emphasized that pictures of men often receive a wide range of negative tones or opinions due to the physiological effects that are fashionable to society or any other individual who approves or disapproves the beauty in a portrait of two men or women (Berger 38). This essay offers my opinion concerning the pictures of the Doloce and Gabbana, the gay Italian designers, as well as that of
One strength of his article is that it can easily elicit an emotional response from the more sympathetic readers and outdoor enthusiasts. Duane appeals to pathos when first setting the scene of a day in the wilderness. He describes what it would be like if one had the “good fortune” to spot a Sierra Nevada bighorn sheep in the wild. He writes, “You unwrap a chocolate bar amid breathtaking views . . . the sight fills you with awe and also with gratitude for the national parks, forests, and yes, environmental regulations that keep the American dream of wilderness alive” (Duane 1). For the audience that connects to this emotional appeal, this instantly draws them in to the article and can arouse feelings of amazement and wonder toward the sight described. It can likewise leave readers wondering whether or not this scene is truly so perfect. This statement can also appear too dramatic for those less passionate. When Duane writes, “The sight fills you with . . . gratitude for the . . . yes, environmental regulations that keep the American dream of wilderness alive,” it seems almost untrue, as most people do not think twice about the environmental regulations that keep animals in their
Sontag, Susan. "Essay | Photography Enhances Our Understanding of the World." BookRags. BookRags. Web. 15 Apr. 2014.
No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Sherman’s photography is part of the culture and investigation of sexual and racial identity within the visual arts since the 1970’s. It has been said that, “The bulk of her work…has been constructed as a theater of femininity as it is formed and informed by mass culture…(her) pictures insist on the aporia of feminine identity tout court, represented in her pictures as a potentially limitless range of masquerades, roles, projections” (Sobieszek 229).
McKay’s uses the art of dance and fashion to allure the men and women. He chose to have the woman dancing sensually and half clothed, to capture everyone’s attention. By having the woman portrayed this way, it signifies her worth. Similarly, Rossetti uses art to objectify women, however, she uses the art of painting and fashion as well. “In an Artist’s Studio”, he objectifies the woman by painting her the way he sees her, not the way she actually is; In doing this, it is symbolizing that woman are controlled.
Is childhood perhaps a set of performances, like staged tableaux, and made for adults, in which the body is the focus of attention and expression? And in those stumbling, hesitant, performances, did we, and do our children, learn to act out roles for the rest of our lives? The concept of identity as unconsciously practiced performance: of gender especially, but also of class, race and sexuality, is fast becoming a critical truism. (Butler, 1990). As an adult, perhaps I may try to construct the childhood as an “age of innocence”, but in real time, rather than the adult imagination, adolescence is an age of spots and listlessness, of massive ephemeral excitements and tedious eternities. It is an age when ideas of sexual identity and self are evanescent and fragmentary. You try to out make-up for the first time, experiment with the social marks of femininity and masculinity, and with the marks of rebellion… (Townsend, C. 1998). Like a work of fiction, images call for explanation, to know how we feel about it now. Unable to communicate for itself, the photograph needs its viewers to tell it what it might enclose, and we are unnerved by our multitude of answers. The portrait is a sign whose purpose is both the description of an individual and the inscription of social identity.’ The portrait
“Hindu symbolism and colour meanings dominate Indian culture and society,” in Global Graphics: Gloucester, Massachusetts:Rockpoint Publishers, pp.175-176. Stonjanova, Christina. 2010. “Beyond Tradition and Modernity: The Transnational Universe of Deepa Mehta,” in Brenda Austin-Smith & George Melnyk, Canadian Woman Filmmakers: The Genered Screen. Ontario, Canada: Canada Council for Fine Arts, pp.
From birth, people are divided into two sex categories- male or female. This is inevitable, and is given to each individual person based on the reproductive organs they were born with. Gender, on the other hand, is the social and cultural difference of being either ‘male’ or ‘female’ instead of the biological difference . This leads into stereotyping, which dictates ones first impressions of others judged by their clothing, style or personality. Society has already outlined the stereotypical gender roles for both men and women, examples being that women are associated with the colour pink and are usually housewives. Men however are associated with the colour blue and are the financial providers. This is also demonstrated with classic children toys. Little girls are usually given baby dolls and cooking sets with pink being the dominant colour, whereas boys are given DIY sets and war toys. American born photographer Cindy Sherman (19/01/1954) deals with the typical gender roles within society and is one of the most influential artists in contemporary art. Her film stills consist of using herself as the subject and portray the ‘everyday, average woman’. An example of her using a woman stereotype is her ‘Untitled film still #35’. At first glance, we can judge by the subject’s clothing that she’s a housewife; she has the apron, hair tied up etc. Noticing the coat and scarf on the left we can assume there’s a male present, most probably one whom she is glaring at. Her unfriendly expression could suggest that her husband demanded she hang...
On one side of the conflict, Americans have a passionate relationship with nature. Nature acts as a muse for artists of every medium. While studying nature, Jo...
These cultural strictures come in a number of forms. First, the artist attacks intellectual conformity, choosing art over all other means of self-expression even though it is not widespread in his or her society. Though it is not explicitly stated - and is perhaps even subconscious - the artist chooses art over either academe or high society. The artist questions society's customs, making this choice explicit in their daily actions. The artist rejects ostentatious displays of wealth and the cultural emphasis on money, replacing it with a frugal simplicity more conducive to authentic experience. Finally, the artist calls into question the cultural construct most important to any understanding of human interaction - the binary conception of gender.
Whereas men had a so-called “head-start” with painting and sculpture, photography was pioneered by and equally associated with both genders. Sexualized images of women circulated via mass media. Described as a voyeuristic medium, photography was a powerful tool in deconstructing the male gaze and bringing private moments into the public domain (Bonney 1985: 11).
This chapter explores the idea of landscape in an anthropological construct. Hirsch aims to move away from the western ideals of understanding of landscape, and deconstruct it in an attempt to understand the local interoperation of landscape to prove it is part of a cultural process. Landscape has been used as a “standard framing device” (p1) by those looking from the outside in across anthropological history. Hirsch is looking to explore the landscape through the cultural understandings of the local people. (p1-5)