Petra Collins’ artwork served me as an inspiration for my project as she reinforced the confidence in my main ideas. Her work is similar to Prue Stent’s, based on the life experiences of women and femininity. Collins tries to represent teenage girlhood and the intimate and unmediated in-road into teenage life. She uses an evocative portrait style which covers themes such as felinity, feminism and identity. Her aesthetic is also dreamy, but she includes in her work other elements such as vintage fashion. Collins’ photographies explore in depth confrontational situations in a girlish world, as she tries to communicate a message of freedom and empowerment through the liberation of women. All her work is shot in 35mm film and her aesthetic is heavily …show more content…
The subjects of his photographs are portrayed candidly, meaning there’s no presence of unnatural poses, something that attracted my attention and definitely impact- THE KODACHROME RENAISSANCE "4 © Petra Collins © Aso Mohammadi ed my work, as I discovered that as a photographer I wanted to capture the organic human nature. Mohammadi’s includes intense human presence throughout his entire portfolio and applies a still life technique which includes a mixture of different colors and patterns that definitely helped me to push my aesthetic value. Conclusion – Perspective and legacy. Thanks to the influences of my project (such as Prue Stent, Aso Mohammadi and Petra Collins), I've mastered my photographic skills as the artists which I explored in depth helped me with my own artistic development, and pushed forward my ideas to life with the use of experimentation. My work reflects different backgrounds and styles which I consider really important as I wanted to implement and build a different unique style, which ended up brilliantly creating my own. Through the development of my work I found myself rediscovering myself in a new innovative way as I’ve got deeply in touch with my artistic side, trying things I’ve never done before
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
Following Joan Jacobs Brumberg throughout her conveying research of adolescents turning their bodies into projects the reader is able to see where all of the external beauty fascination came from following up to the 21st century. Brumberg effectively proves her point, and any girl of today’s age knows the struggle of which she continuously portrays throughout her book. Beauty has become such a preoccupation that it has gone from soap and washcloths, to makeup, to cosmetic reconstruction of body parts.
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,
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.
Zanele muholi is a visual photographer and an activist of Black lesbian community. Using photography she addresses the challenges being faced by black lesbian, gay, bisexual, transgender and intersex people in both townships and communities. These people are vulnerable and they cannot speak for themselves but, through the pictures they are able to raise their concerns. Most of Zanele pictures are in black and white because according to her, one is able to concentrate in the message than the colour. This essay will therefore, discuss the significance of Zanele’s choice of photographic portraits as a medium to raise the concerns of LGBI community by using some of her images.
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.
Feminism and political issues have always been centered on in the art world and artists like to take these ideas and stretch them beyond their true meanings. Female artists such as Hannah Höch, who thrived during the Dada movement in the 1920s in Germany and Barbara Kruger who was most successful during the 1980s to 1990s in the United States, both take these issues and present them in a way that forces the public to think about what they truly mean. Many of Kruger’s works close in on issues such as the female identity and in relation to politics she focuses on consumerism and power. Höch, like Kruger, also focuses on female identity but from the 1920s when feminism was a fairly new concept and like Kruger focuses on politics but focuses more on the issues of her time such as World War I. With the technique of photomontage, these two artists take outside images and put them together in a way that displays their true views on feminism and politics even though both are from different times and parts of the world.
The camera is presented as a living eye in her work, capable of bending and twisting, contorting reality in its own light. It is at the same time a sensuous device, one that exp...
Masters. With his small hand camera he unobtrusively photographed people’s lives around the world. He was solely responsible for bridging the gap between photojournalism and art. He has published more than a dozen books of his work. The greatest museums in the world have shown his work.
In order to familiarise myself with the above topic, I have invested much time reading vast selection of the portraiture art themes with aim to get acquainted with the knowledge and the language used in this particular subject. It was very challenging and entertaining to read comprehensive range of various critiques and analysis of the world best paintings stretching from ancient classic to contemporary western image. Developing understanding of the diverse art expressions and social and political influences tha...
Final Doc Paper Spring 2015 Bringing into contact Agnes Varda’s filmmaking and her femaleness, puts forward two aspects of her cinema: her particular insight to the portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment within a set space. Making the feminist phenomenological approach to her films particularly tasteful for her viewers. Drawing from the work of Maurice Merleau-Ponty, “it explores haptic imagery and feminist strategy.” In The Gleaners and I, the materialization of space characterizing Varda’s paralleled work of fiction and documentary allows for the relationship of people and their environment to often be observed in cinema.
Sofia Coppola’s movie, The Virgin Suicides, 1999, brings to the forefront the reality of what life is like for five oppressed teenage girls living in suburbia in the mid-70’s. After examining numerous articles, a few of them made an impact on my perspective. The first of many articles is Todd Kennedy’s piece, Off with Hollywood’s Head: Sofia Coppola as Feminine Auteur. Kennedy discusses how Coppola has a tendency to lean toward directing films that cater toward females’ interest, either because of the visual imagery or women’s feelings of connectedness with the characters. The author reveals that The Virgin Suicides portrays women as becoming dominated by the environment surrounding them. The author gives an interesting point of view when he claims, “The film tells a story of the five Lisbon sisters whose identities exist only insofar as they are defined as the objects of the masculine desire” (44). Furthermore, the Kennedy asserts how the film serves as a prolonged exploration into the degree to which female characters are idealized, objectified, and defined by the image that the film- and their society- imposes upon them.
These ideas are expressed in this untitled photograph. The photograph represents many themes such as sadness, concealing one's true identity, and sense of isolation. The photograph shows a great deal of strong emotion such as Sadness. One can draw the emotion sadness just by focusing on her facial expression.
The women in art history have used their passions to bring about a necessary change and bring women out of the shadows to which she has been pushed into over the centuries. Making painting their own they bring a new life and expression into the female personalities portrayed that men are not yet able to achieve. Showing the world where they stand and what they are willing to go through shows the strength in character a woman really has and that she is not the equivalent of a bowl of fruit or a vase of flowers in a man’s painting but so much more. These women are an inspiration because even though they lived in a society that thought them week and incapable they proved their strength and determination.
In the years that followed I honed my craft by taking LOTS of photos, and I also got a new camera; well the one on my iPod. While it only had an 8 megapixel sensor, it had apple’s color science (colors that more truly represent the scene) and I could play games on it. This is the camera I took with me the first 3 times I went to Europe and each time I took over 1500 photos! So for 3 years that iPod camera was more than enough to keep me content and interested in photography, although things changed when in the summer of 2015 when, after returning from London, I