Barton's pictures are so stylised that anyone who sits for a portrait be prepared to be transformed into an iridescent, bug-eyed line drawing embraced by exotic animals, cast adrift on a sea of dots. In other words, don't expect psychological realism. Throughout Barton’s artworks, her ever-present theme is motherhood, which appears in the most surprising incarnations. She treats the business of sex, procreation and nurturing as if it were straight out of a dramatic television show. The everyday occurrences of a woman's life are transmuted into a heroic quest, with mothers and daughters turned into characters from science fiction, like her painting “You are what is most beautiful about me, a self-portrait with Kell and Arella”.…
The Liberation of Aunt Jemima is a work of art intended to change the role of the negative stereotype associated with the art produced to represent African-Americans throughout our early history. This piece was to re-introduce the image and make it one of empowerment. Although the sight of the image, at first, still takes you to a place when the world was very unkind, the changes made to it allows the viewer to see the strength and power…
What will it take to see the image of the black woman as a human being? What is the moral responsibility of an artist? I find it difficult to answers these questions. As a black woman I aware that regardless of my artistic talent and education, the myths and stereotypes are seen first. As an artist, I feel the need to represent black women in a positive light, but is this only for my private portfolio? What does an artist do when they are commissioned to paint an image that could be racist and sexist? The strategies for how an artist positions him/herself narrating a historical event relies heavily on the dominant society’s viewpoint. The important aspect in contemporary black feminist literature is looking at the historical painting as another form of storytelling that contributes to the…
Penney Byrne and Fiona Hall are both artists that push the boundaries to the art world. They are a range of mix media artist who mainly focus on sculpture pieces. They mostly focus on social and political messages through their artworks concerning today’s issues that create an impact to the audience, by challenging and provoking them. The focus on using everyday ordinary objects that we see day to day and turning them to become something that shocks and makes the audience question and rethink the significance of what the art work it trying to portray through the postmodern art style.…
The manner of painting is almost laid on thickly so that the texture stands out in relief, as an Impasto. In the painting, Wood used his compositional elements with such care that some importance is attached to his choice of house. One would notice the expressionism of the painting: the choice of despair was not a lazy choice, but because of the Great Depression in 1929. His rendering of a plain, stern-faced Iowa woman has a timeless, mysterious quality that may bring some questions up. Is she the ‘western’ Mona Lisa?…
Kara Walker’s work has received international attention since the early 1990’s for utilizing an iconic, but mostly forgotten, form of portraiture – the cutout silhouette. It has been a target of violent controversy, due in part to the obscenity of the portraits and to the reviving of deep-seated racial stereotypes. This controversy is, I argue, only partly a response to her body of work and more to her medium of choice: life size black cut-paper figures.…
“Aaron Douglas was an African American painter and graphic artist who played a leading role in the Harlem Renaissance of the 1920s and 1930s. His first major commission, to illustrate Alain Leroy Locke’s book, The New Negro, prompted requests for graphic from other Harlem Renaissance writers. By 1939, Douglas started teaching at Fisk University, where he remained for the next 27 years (Biography 1).” He made numerous contributions at Fisk University.…
In the 1980’s, female artist addressed the dominance of cultural perceptions regarding female agency, pleasure, and spectatorship. In order to make their voice heard in a white male dominant art industry, they created works of art from paintings to films that challenged the social stereotypes and ideologies about female identity. This essay will define these three perceptions and examine the artworks from artist such as Julie Dash, Kobena Mercer , and Jenny Saville. These artists paved a way for the feminist movement through the use of disturbing the normative constructions of femininity, racial identity, and the body.…
A reality that exceeds beyond the image itself, from the contexts in which a certain photo came to be. He critiques those whose photographs serve merely as instant eye candy to further strengthen his argument that genuine pictures display the uniqueness of everyday life. Cole leads with the build-up of Steve McCurry’s work, stating its vivid imagery and grandiose appearance. The haunting photo of that girl in a red headscarf with big green eyes? That was by McCurry. It would be fair to assume that he is a visual genius with an eye for artistic imagery, but Cole only rejected his photographs completely thereafter. He claims that McCurry’s particular selection of viewpoints “is not simply to present an alternative truth: It is to indulge in fantasy” (Cole 972). A fantasy, in fact, deep-rooted in colonization and imperialism, historical truths that should not be ignored in representations of a culture. Cole insists that framing photos to alter the way we interpret their origins is a false representation of…
Cited: Buick, Kirsten P. "The Ideal Works of Edmonia Lewis: Invoking and Inverting Autobiography" in American Art, Vol. 9. Summer 1995, pp. 5-19.…
In Palmer Hayden’s painting, “Fetiche et Fleurs,” (1926), he expresses the culture and traditions of the African and African-American culture. Hayden’s painting connects with the…
▪ Mademoiselle Reisz often cautions Edna about what it takes to be an artist—the “courageous soul” and the “strong wings”…
For African Americans, the pain of racism is ever present, and Walker 's world is devoid of the sinless and the passive black victim. “It 's born out of her own anger. "One thing that makes me angry," Walker says, "is the prevalence of so many brown bodies around the world being destroyed.”( 1. Combs, Marianne. Kara Walker 's art traces the color line. ) Walker mines the source of this discomfort from submerged history and goes so deep that everyone is involved. She knows that stereotypes have not disappeared: they have only been hidden. The animated figures of her cut-paper wall murals attempt to change a painful past into satire. Consequently, African Americans can conquer a fear of racism in which the themes of power and exploitation continue to have deep meaning for them in contemporary American society.…
Kara Walker is a disrupter. The kind of rabble-rouser that evokes the power of the visual to create artistic works that undo the sanitized rendering of American history. Her form of resistance has its genesis in placing on display the horrific conditions and savagery that black bodies have experienced at various stages in time. Often, visual forms of opposition are more palpable since the eye, to humans, is the most trustworthy conduit that we own. Therefore, the act of looking, is a robust entry point into engaging with images on an intimate and emotional level, that elicit an instantaneous response. Walker summonses the eye to engage with what it identifies and to interrogate what it does not comprehend.…
Lorna Simpson was born on August 13, 1960 and is a photographer who is known for her work with African American women. Moreover, she is most well-known for photo-text in grey scale and it’s common for the women’s face to be hidden in the photograph. (Craine) The Waterbearer by Simpson in 1986 is a minimalist work and the intended audience is everyone despite whether or not they care about racial issues because it is ingrained into daily life. This photo-text is calling attention to racism and sexism by using symbolism, race, and narrative art.…