It attracts spectators’ attentions to think about what things the young female is facing as they replace themselves into the painting. The main target of this painting is female. Based on what Cayton, et al., the spectators recognize that Hopper was trying to tell us, “The workplace remained highly stratified along gender lines. Not until the political and cultural climate shifted in the early 1960s would women begin actively to resist the gender stereotyping so characteristic of 1950s social attitudes” (Cayton et al., 1993). Females sustained the pressure of taking restricted social role; otherwise, they will be discriminated by the public.
The physical image of poverty portrayed by the family reflects The Great Depression’s toll on their livelihood. It is clearly and plainly displayed that the mother and her children are impoverished by the techniques of black and white color choice, and intricate, detailed texture. The hardship faced by the family is highlighted by the photograph being in black and white. This allows for the simplicity of their condition to be shown without the distractions a photograph in color would provide. The image is very detailed and defined by texture, to leave no question to whether the family lacks wealth or riches.
Tamra Gould is a senior at Edmond North High School who has shown exceptional talent in photography and exceptional character in her reaction to society’s expectations. While Gould has always expressed an interest in photography, it was not until a photo of hers received first place at a UCO competition that she truly began to recognize her talent. Gould specifically prefers to photograph people who lack self-confidence or people who are looked down upon by society or viewed as “special” or “weird.” A few of her favorite subjects include her little brother, who has Down Syndrome and her little sister, who has been bullied all throughout school. “My goal is to show them in a way that people would never expect and show their true beauty,” said
She uses her own generational culture and her own beliefs of the current generation to try to support her claim, but she does not provide, and possibly cannot provide any factual evidence since her argument is merely a form of opinion. In my opinion, her written piece is an ideological critique which says that if you are intentionally trying to look a certain way from a past generation then you are ironically living. She even implies that using “pre-wash” filters for photos, is ironic and possibly insincere. I agree with some of the points made, but she is painting this generation with a broad paintbrush.
In many instances, Pilar’s voice serves to question the clarity of the lens with which we see the world. Beginning as a child, Pilar seeks to discover a truth that goes beyond the superficial. She broaches the subject of image in the context of advertisements, saying, “I read somewhere that the woman who posed for it was three months pregnant at the time and that it was shaving cream, not whipped cream, she was suggestively dipping into her mouth” (197). Through the irony of this event, Garcia brings to light the fiction of image, and the way the realities we accept at face value, are often only shadows of what truly exists. The fiction of image, and of memory is something that Celia ponders as well.
Throughout history, photographs have been known to depict and represent culture, character, information, and ideology. Through specific elements of form, and close scrutiny, photographs give a representation of the “bigger picture” by providing content and invaluable information that text, on its own, does not produce. Dr. Carol Payne, a professor of art history at Carleton University, wrote an essay in 2012 for the Oxford University Press. This essay focused on the relationships between photographic images, Canadian culture and identity, and indigenous people. Her thesis was to discuss how an image can present a sense of national identity (Carol Payne 310).
Her most iconic photograph the “Migrant Mother” depicts an out of work pea-picker Florence Thompson sitting in her tent surrounded by her seven children, while gazing at the horizon. The photograph represented the hardships of itinerant farm hand workers like her. Thompson described the life she lived in as “We just existed… Anyway, we lived. We survived, let's put it that way”(Phelan 2014).
That said, Sia’s use of “gray-face” paint in her new video for “The Greatest” as a way to unify the identities of all the young dancers, who vary in race and gender, could be seen, arguably, as a means of reconstituting the use of face painting in a modern era. As opposed to creating caricatures, this video creates a reality which we must
I have always perceived the beauty behind my identify struggle just as others have as well. I am rich in culture because I am of two. The hybridity of both cultures presented a sensation of empowerment while it also has created a division within myself. Through an original art piece, inspired by Judy Baca’s The Great Wall Of Los Angeles, I exhibit the duality
In society, there are several stereotypes and gender roles culturally influenced by women today. Cindy Sherman’s Untitled Film Stills series made between (1977-1980) shows different stereotypes of women in different everyday situations. This series consists of the artist posing as those female roles in seventy black and white photographs. In my opinion, by doing this series she challenges the way we view women regularly in pictures, by giving a different perspective. In this paper, I examine Cindy Sherman’s work and how my work is inspired by or relates to her work.
1) The city states of the ancient Mayan empire flourished in southern Mexico and northern Central America for about six centuries. Then, around A.D. 900 Mayan civilization disintegrated. Scientists have found that drought played a key role. The Mayans appear to have exacerbated the problem by cutting down the jungle canopy to make way for cities and crops, according to researchers who used climate-model simulations to see how much deforestation aggravated the drought. The earliest Mayans were growing crops such as maize, beans, squash and manioc.
Instead of being divided by geography or chronologically, the show was divided into 4 sections: Life Cycles, Identities, Politics, and Emotions. This division allows for juxtaposition for a wide range of artists that their modes of practice and sociocultural, racial, economic, and personal situations might be radically different from their own. This type of relational analysis, which places diverse, transnational works by women in dialogic relation with careful attention to co-implicated histories, seeks to produce new insights into feminist art today. The article then goes on to explain the curatorial strategy of relational analysis and how it relates to Global
Identity is often a cornerstone in a many important works of literature. The struggle of a protagonist to reconcile with their identity and the expectations or restrictions that accompany this struggle often mirrors real life endeavors and makes important critiques on social structure. The essay A Room of One’s Own by Virginia Woolf makes an influential claim that a woman’s identity as lesser than a man’s in society prevents her from the opportunity to fill her role as a writer while the novel The Bell Jar written by Sylvia Plath describes a woman’s struggle to reconcile with her expectations as a woman in the 1950s. Both pieces make a statement about the impact of identity and its influence on the women faced with the consequences of these societal expectations.
We share the same cultural identity as we consume those cultural artifacts of narratives, memories, stories and fantasies to incorporate their cultural representations in similar or different ways into our everyday rituals and practices of daily life. Besides, the social and cultural construction of identity is highly influenced by media communication in the modern age. Technologies have empowered the media to communicate their meaning to a variety of people; (Hall, 1997) Social and cultural identity are linked to issues of power, value systems, and ideology. The media uses representations, such as images, words, and characters or personae, to convey specific ideas and values related to culture and identity in a society.
There are countless reported negative American stereotypes and I honestly struggled tremendously to find a stereotype that I identified with. However, I would say cultural ignorance is a negative American stereotype I can actively work to address as our class travels internationally. Researching cultural ignorance more in-depth will aid in my understanding and appreciating diverse cultural perspectives, the importance of historical knowledge, and the complexity of communication amongst different cultures as I travel to Europe. Cultural ignorance is when an individual shows a lack of understanding of other cultures in terms of history, society, government, and much more. This lack of knowledge and understanding can easily be interpreted as a lack of respect for the culture or country and even ethnocentrism in the more extreme examples.
