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Importance of art explain
The importance of art
The importance of art
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English painter Joseph Wright’s uncontested masterpiece is his work The Widow of an Indian Chief Watching the Arms of Her Deceased Husband. The painting depicts a lone native woman under a tree, mourning her loss. The weather above mirrors her distress: the sky an ominous purple, spiderwebbed with white lighting, while a volcano in the foreground threatens to boil over. With head cradled in hand and shoulders caved downwards, the widow grieves on.
It’s her posture that’s most familiar to me. It’s the embodiment of resignation, of defeat. It’s a posture so broken it’s something you see only when the world’s at its worst. I know that slump; I’ve seen it on my closest friend Morgan. It’s the shape she sank into, years ago, when Eric Garner’s
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death went without justice; later, she physically crumbled that way when a noose was hung on the door of a local black sorority. It’s a posture she’s become all too familiar with as a black woman in an unequal world. I see Morgan reflected in that mourning widow. I also see myself, because upon closer inspection, it becomes apparent that the Indian woman in the painting doesn’t look much like an Indian. She’s very pale and slightly reminiscent of the fine ladies in Romantic-era portraits. It’s clear that Wright painted the piece without knowing what a Native American looked like. The woman’s physicality seems at odds with the painting’s narrative. She’s dressed in the garb of a native but she couldn’t look more out of place, an uncanny allegory for my uncomfortable position within black women’s fight for equality. There I am, uncertain and conflicted about my privileged role and the part I may or may not play in a community that doesn’t belong to me. I want to aid in the fight for equality for people of color, yet I struggle with the way I should. I stand out, dressed in the culture that isn’t mine to wear, not meaning to cause harm but perhaps doing so unwittingly. How do you help someone who may not want or need it? I’ve come to struggle with this question only recently and mainly because of my friendship with Morgan. We met when we were 14 and were most likely drawn to each other because we so defied the standard to be found in our small, southern community. Morgan and I were both raised in the north only to be suddenly relocated to the south, and we both struggled with the societal differences to be found across the Mason-Dixon line. In a sea of confederate flags, we were yankees at heart. Our friendship blossomed as we discovered our common interests: we both love a good music festival and the New England coast. And we both have a deep and abiding concern over social justice, an issue often neglected in our southern town. Though I had lived in Georgia for years before she moved, I was there to listen to her frustrations as she adjusted to the changes in culture, and as we bonded over the “terrible, terrible south,” our friendship only grew. But I was always aware that our experiences as women and as blue dots in a red state were more of a dichotomy than a singular ordeal. I’ll never understand what it’s like to be Morgan, not completely, because I’m not black, and she is. I can acknowledge that. But it still hurts to see her angry and hopeless when she’s faced with racism in a world that has come so far but has so far yet to go. I see why she doesn’t bother to raise her hand during class debates. I see how she’s treated differently than I am by our teachers. I remember vividly how scared and tearful she was after Clinton lost the election. She hugged me and whispered, “Hate won.” So I want to help her because she’s one of my best friends and because I’ve experienced to some degree the same dismissal and injustice. But I don’t know how to help, and more specifically, I don’t know if I should try to help at all. If I try to insert myself into the fight for another community’s rights from my advantaged state, I’ll risk pitying some of the women I respect and love most. And I know that Morgan isn’t someone to be pitied. Pity implies weakness on her part, and she is anything but weak; she’s survived years of racist and sexist abuse and remained unembittered. Her sunny disposition is testament to her resilience. But like anyone else, I want to help others who aren’t as privileged as myself. It just feels wrong to reduce my best friend of New England coastlines, rock and roll, and soul food to a skin color. I diminish her when I focus on her skin color, and I mar our relationship when I pity her. So I struggle to see how any of my efforts to advance her interests work to help her. However, I do also know that in Ian Parker’s New Yorker article “The Gift,” the philanthropist Zell Kravinsky makes a good point: inaction makes you complicit. And I have never been, nor do I want to be, complicit. Kravinsky’s ethos assumed responsibility for the less fortunate; Zell gave away his 45 million dollar fortune and even went so far as to donate a kidney. But giving away a kidney is different than taking up the cause of another less privileged sister; medical donations can’t be doubted on the grounds that they were done in a condescending manner, and organ donations undeniably work to benefit those unfortunate enough to need them.
Playing a role in the fight for social justice is not nearly as immediate or direct a positive change. Matters of life and death are much more simple than those concerning the complex socioeconomic and political nuances of racial and gender inequality.
My help might offend; it’s easy to see how good intentions can seem condescending and empty when someone offers to engage and empower another whose very disempowerment benefits the former. The losses of black women are essentially my gains, and any apologetic gesture could ring hollow and
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trite. In addition to any concerns I may have over the power dynamics within intersectional feminism, there’s always the question of whether this brand social justice is effective at all. What actual change can we be reasonably expected to exact when we as women all claim responsibility for other women? In Lauren Collins’s New Yorker article “Friend Game,” mother Lori Drew was acquitted of a crime she had conspired with her daughter to commit. She allowed and encouraged her daughter to cyber bully another girl to the point of suicide, yet the judge ruled that her activities, however distasteful they were, did not exclusively place the noose around the neck of the young girl who committed suicide. Perhaps Drew’s indifference towards the actions of others is the right attitude to adopt. Maybe we are really only responsible for our own actions. Yet to think that way would be to resign ourselves to the notion that the attitudes of a society cannot be improved. The civil rights movements of Susan B. Anthony, Martin Luther King, and Cesar Chavez were all rooted in a philosophy that prioritized the needs of others above the needs of any one person. What then, would become the norm if we refused to hold others to a level of accountability? Do we not owe it to ourselves to constantly revise upon our opinions, find flaws in them and adjust our perspectives accordingly? It’s a terrifying thought, to stand up to notions of racism or sexism, steeped in violence, hatred and ignorance. Any amount of resistance, no matter how subtle, contains a degree of danger to it. But I can’t let fear paralyze our strides towards equality. The danger and difficulty inherent in the fight for human rights is exactly why I should be an intersectional feminist, even if that carries the risk of offending. Within my relationship with the black feminist community specifically, I need to support and empower other black women, refute any instances of racism or sexism, and actively demand that government institutions work to eliminate the discrepancies in treatment found across genders and colors. These actions can be as subtle as buying from black-owned brands or as clear as participating in marches, but they need to be done if I am to carry out my responsibility as an intersectional feminist. But I should also be clear in that my responsibility to the black feminist community as an intersectional feminist has limits as well. My role within the fight for equality amongst black women ends where white women begin to take ownership of a black woman’s struggle. I will not wrest away the protests of another black woman only to call them my own. My role is one of a supporter, not a leader. Anything more would be to assume an authority that isn’t mine. Joseph Wright’s Indian Widow may be a flawed attempt — at best, naive; at worst, ignorant —to depict the reality of exploitation, but it is an attempt.
The painting starts a conversation; it sheds light on an important issue. It’s an endeavor to capture and understand the grief of a downtrodden community. However unwieldy or indelicate its execution, it does not appear to have been done with malice; Indian Widow instead offers a chance to start a meaningful discourse on subjugation and oppression. In the same way, my attempts to contribute to the progress black women are making will be flawed, but that doesn’t foreclose the need for me to make them. So although I may feel torn between the desire to do right by my sisters and the fear of saying the wrong thing, at least I’m trying. And I have to try, if for no one else, for
Morgan. I think of Morgan, my best friend who was only 7 when she was first called the “n word” on the playground, who drives to our high school on roads named after Confederate war heroes, who was excluded and discounted as too black, too ghetto, too loud, and too bold far too many times for far too many things in favor of her white peers. She deserves better, and so do all black women. And if standing on the sidelines is complicit, I refuse to be. I can’t ever pretend to own Morgan’s experiences or the trials of any black women. I won’t take their struggles as my own. To do so would diminish and trivialize their fight for equality, but I can stand beside them and support their demands for equality. I can promote tolerance within our communities. I can call out the bigots and demand a higher standard from my peers. Anything less would be to refuse the moral obligations I hold within a society.
Did you know that in 1960, Betye Saar collected pictures of Aunt Jemima, Uncle Tom, and Little Black Sambo including other African American figures in areas that are also invalid with folk culture and advertising? Since, Saar collected pictures from the folk cultures and advertising she also makes many collages including assemblages, changing these into social protest statements. When her great-aunt passed away, Saar started assembling and collecting memorabilia from her family and created her personal assemblages which she gathered from nostalgic mementos of her great aunt’s life.
How does one embrace the message and soul of artwork when you can’t get passed the color of skin in the portraits? Two barrier breaking retrospective artists born with more than 2,899 miles between them have beat down the walls in the art world opening up endless opportunities for female artist today. Carrie Mae Weems and Lorna Simpson specialize in catching the viewer’s eye and penetrating their feelings towards issues of culture, politics, equality, and feminism. It is well established that these woman specialize in identifying problems in their artwork, both artists seem to struggle with not being able to avoid the ignorant eye of stereotyping because they use African American Models in their artwork. Carrie Mae Weems doesn’t see her artwork
While volunteering and advocating for social justice are things that have always been important to me, I would like to become more involved in community movements and advocacy groups that promote gender equity. The article, “Why gender matters in activism: feminism and social justice movements”, by Bhattacharjya et al. (2013), emphasized the importance of community and mutual involvement in working towards gender parity within social movements, concluding that such equality is best achieved when supported by a whole, resulting in unification between males and females in the decision-making
Equality (1999) is a mixed media assemblage. Equality shows Aunt Jemima as the media had portrayed the African American woman with the word equality. Saar is showing that even the so-called Aunt Jemima needs equality. Equality is supposed to be for everyone and this piece illustrates that great truth. Pour Vous Madame (1999) is a mixed media assemblage. The title of this piece is French for “For you ma’am.” This work shows two servants and one is handing grenades to the other. This artwork is a direct satire of the age of slavery in American. The piece is symbolizing empowerment to all African American people. Grandma’s house (1972) pays homage to Saar’s grandmother. Saar spent summers with her grandmother when she was young and it was there that she found a lot inspiration for her art work. Keep for Old Memoirs (1976) is a mixed media assemblage. Saar was famous for making collages from things that she had found. She would collect things that she found at in her grandmother’s yard when she was young and make gifts for her family. The joy that she got from doing this carried over to many of her artistic pieces such as this one. Eye of the Beholder (1994) is a mixed media artwork. This piece is visual form of the old adage “Beauty is in the eye of the beholder.” Historically, African American people were not considered beautiful or handsome and this dates back to early European monarchies. Europeans thought that pale skin and light hair was the only real form of beauty. Saar is challenging this ancient and misguided belief about beauty. Long Memory (1994) is a mixed media work. This piece demonstrates that African Americans have had a very long and rough past that included slavery and prejudice. Unfortunately, a lot of prejudice still exists in today’s society. The hand in this
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.
The benefits of this communication are varied perspectives influenced by one’s social class, gender, age and moral values. Within the painting all in attendance are from the same social class as shown by their clothes and hair styles. Both men and women are present ranging in age from the older gentleman on the right to the young girl. Most importantly, their facial expressions depict their varying reaction to an ethical issue. The young girl and her crying mother are the most illuminated in the entire painting representing their level of
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
Two prominent artists that engage in issues of gender and race are Faith Ringgold and Murray DePillars. When looking at Faith Ringgold’s work, specifically her Slave Rape Series one can see that she does not shy away from the painful history of black womanhood. When looking specifically at Slave Rape Series: Fight: To Save Your Life, 1972 we see Ringgold’s use of the female nude to confront stereotypes of black women. She paints a pregnant black woman with a surprised look on her face holding her pregnant stomach with one hand and a hatchet in the other. She also paints her surrounded by plants, thus further suggesting that she is a slave running away to save her own life and the life of her unborn child. This painting (done on a quilt) acknowledges the vulnerability of this woman but it also acknowledges her struggle and her resistance to her oppressor (an assumed slave owner). Because such a horrific subject like slave rape is painted on an object usually associated with comfort and safety, Ringgold forces her audience to consider the
When people talk about the civil rights movement, the first thing that comes to mind is the famous speech “I have a dream” by Martin Luther King. His dream in short was to have equality among human beings. For the past thirty years, this country has been revolutionizing humanitarianism because there is greater concern for human welfare than one hundred years ago. The revolution began during the 1960’s, and during that era this country was drastically involved in changing the civil rights of minority groups. From this concern, a program called affirmative action evolved. Like other civil right movements, the affirmative action movement was implemented to promote equality.
In movements today and in circles and discussions around social justice today we like to entertain the idea of liberation; whether collective or individual, the endgame is liberation for all. Although the goal has seemingly changed in today’s movements – from achieving equality and reform to all-out liberation – the methods to achieving this new goal have not necessarily changed. They have not changed because the idea remains that it may be possibly to gain liberation through equality. Equality is a more tangible goal for most movements; it’s easier to demand, it’s easier to imagine and describe. Liberation, not so much. Most might consider that equality has a reasonable timeline where liberation will be a very long process that involves the deconstruction and the decolonization of centuries of oppression. So, in the meantime while waiting for liberation, maybe we should fight for equality as it will put us that much closer to liberation.
He begins with a brief acknowledgement of Dr. Dorothy Pearson and her incredible contributions to social work. He then moved into discussing social justice and social equity to lay a definitional foundation for his lecture. He went on to say social justice is a process and not
Not only do we need to understand the ‘issue’ or ‘societal problem’ that many people face and are impacted by every day, but we need to meet and work alongside those whose daily realities are shaped by injustices, while not creating any divides or barriers in the process. Everyday people are affected by the issues that organizations fight for or against, and once we realize how people-centered things like advocacy, outreach and service are, I believe young people will realize their call to action and their potent...
There are many social justice issues to deal with, a huge list. They range from racism, to poverty issues to heterosexism. All these examples have been covered and discussed profusely recently, in the media and on the internet. People are very focused on these issues, and there is nothing wrong with that, those issues deserve to be brought to light, but those issues do not involve me or affect me. The social justice issue that does affect me is not discussed at all and seems to be the taboo topic of the year. It is anti-Semitism, something that still occurs in the United States to this day, and something that I am very invested in and interested in changing.
Capeheart, L., Milovanovic, D. (2007). Social Justice: Theories, Issues and Movements. USA: Rutgers University Press
...ll backgrounds to rise as leaders, to fight for justice, to create greater equality, but most of all care for those around them. The positive changes in the environmental movement of the 1960s and 70s driven by people like Rachel Carson, Lois Gibbs, and Erin Brockovich, and communities like Warren County remind us of just how powerful unity and identity can be. It is not to say that if you have no connection to a situation you won’t care about it, because we as humans are all inclined to feel some degree of empathy towards helping those around us. However, that personal connection makes us fight with the war of passion and rage inside of us and makes people underestimate just how powerful a united community can be. If we do not stand up for our communities, for what is right, and for what we inherently believe in then who will be willing take on the responsibility?