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The role of religion in art
Women and art essay
The 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.
Artemisia Gentileschi (1593-1654?) was one of the most important women artists before the modern period and certainly one of the most famous female painters from the seventeenth century. Gentileschi’s paintings regularly featured women as the protagonists acting in a manner equal to men. In fact, forty nine of her paintings fall into this category. She was raped at the age of 18 and the subsequent events lent her a certain amount of notoriety. These factors have led many to interpret her artwork as an expression of her role as a female victim looking for revenge through her art. Instead, a closer examination of Gentileschi’s life and her artwork exposes the artist as an individual with personal strength and incredible talent who painted subjects similar to or the same as those of her male counterparts, instead of staying within the guiding principles of what was acceptable “feminine” art.
However, the way this is seen to “non-artists” it is seen, but through the eyes of an artist there is nothing puerile about the power Basquiat’s work has to communicative different thoughts and meanings. These “childish” paintings depict themes varying from drug abuse, jazz, capitalism, bigotry, and mortality. Amongst these topics, those that are the most pervasive throughout his artwork include themes of racial and socioeconomic inequality. After thoroughly searching for key points in Basquiat’s brief but memorable career, the impact on imagery, textual and visual, within and among his paintings also helped to create a superior impact on the society. In each of Basquiat’s paintings, there is an immediate lesson shown and it provides a different view through which we can examine urban beauty and decay, and the social unfairness’s that patiently wait in the
Assia Djebar, in her novel, Women of Algiers in Their Apartment experiments with multiple, fragmented voices in creating a polyphonic background for the cinematic imagery in her explosive, unapologetic deconstruction of Orientalist images of Algerian women as passive, exotic, sexualized ‘others.’ The above section of “For a diwan of the water carrier,” begins on page 38 at line 30 and continuing on page 39 on lines 1 and 2. I contend that, in the water carrier’s feverish dream, the author employs the oral tradition of Algerian women, symbolic female body imagery, and a cinematic de-centering of post-colonial Algerian women’s identities in deconstructing Orientalist myths of the objectified female ‘other.’ In order to prove this thesis, I begin with a brief expositional segment pertaining to the water carrier’s dream.
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.
In December 2010 Shirin Neshat gave a TedTalk asking its audience to consider how they perceive Iran. As an artist in self-imposed exile from Iran, Neshat uses the TedTalk, “Art In Exile,” to talk to a western audience about the Iranian peoples’ struggle to shake off the negative preconceptions many have in the west. Neshat uses her artwork to explore this issue and aims to highlight the role of Iranian artists, how western views on Iran are changing, and the strength and importance of Iranian women in their country’s fight for freedom.
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.
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).
This investigation will examine a few key works by the anonymous female artist group know in popular culture as the Guerrilla Girls. In this essay it will reveal several prominent themes within the groups works that uncover the racial and gender inequalities in politics, art and pop culture with the use of humor. These collaborating artists work and operate with a variety of mediums, their works display a strong message concerned with activism connected by humor allowing the Guerrilla Girls to communicate and resonate a more powerful message to the viewer. The ways in which this collaborating group has employed many questions and facts against the hierarchy and historical ideologies which have exploited women and their roles in art. This investigation will allow the reader to identify three areas in which the Guerrilla Girls apply a certain forms of humor to transform society’s view on the prominent issue of gender in the art world. These specific ploys that are performed by the Guerrilla Girls are in the way they dress, the masks they wear, pseudonymous names of dead women artists and the witty factual evidence in their works. These are all examples to evoke audiences in challenging not only the art society which dictates the value and worth of women in art but also to confront yourself and your own beliefs in a way that makes audiences rethink these growing issues.
2. The body as a subject is evincing humanity beyond cultural construction and linguistic formulation.
On the November 26th I went to London to view Ana Mendieta’s art exhibition: Traces at the Hayward gallery. Here I observed her work which focused on topics such as, what it is to belong in a modern society; the role of the body in art; the affect death has on people; feminism and the female body which was all reflected at the gallery. But, what really stood out to me when I was looking at her work was her use of nature, primitive-styled ritual and the utilization of her body which was displayed in works such as Imagen de Yagul along with, Earth Body where she blended herself into the environment. This particular subject interested me due to it being a recurring theme in many of her works; the intrigue that arises when seeing her being involved with the landscape and the point she is trying to put across to the viewer. In an interview, when asked what it is she did, she replied, “I work with earth, with nature and I make sculptures in the landscape and environments”1.
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.
During telophase, each cell prepares to return to the interphase state. The nuclear membranes form, the nuclei enlarge, and the chromosomes have relaxed and the fine filaments of chromatin become visible, nucleoli reapper and the nuclei resemble those of interphase cells. This stage marks the end of mitosis
As an Arab American, a Muslim and a woman writer, Mohja Kahf challenges the stereotypes and misrepresentation of Arab and Muslim women. Her style is always marked by humor, sarcasm, anger and confrontation. “The Marvelous Women,” “The Woman Dear to Herself,” “Hijab Scene #7” and “Hijab Scene #5” are examples of Kahf’s anger of stereotypes about Muslim women and her attempts to fight in order to eradicate them, in addition to her encouragement to women who help her and fight for their rights.
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.
The mind creates the emotions and ideals responsible for art. The brain is capable of imagining glorious things, and art is the physical manifestation of these ideals. These ideals are usually intense emotions with aesthetic power (Wilson, 220). Art organizes these emotions in a matter that can easily express the ideals to...