The social issues of the time are highlighted in the artist’s work. This was done to show that the working class is standing united in the face of oppression or opposition.
My reaction to this quote would be that I would agree with what Chris had to do with his car because if the engine wouldn’t work then there would be no use for it. This quote implies that Chris McCandless didn’t have a choice to leave his car. It represents how much he is wanting to forget about his past and to start a new
Nevertheless, for Ben Hall a young man, married and desiring a future in the evolving and progressive society of Australia which presented an opportunity for the adventurous to have ago and to build a solid foundation for their future without the social judgments that had long handicapped those of limited means, or the so-called predetermined order of things. Moreover, in 1800's Australian society, there were still in place some sections that retained the old structured aristocratic style of old England where inherited wealth and title determined a path of an assured future either in government or industry for those that were termed privileged, this of course excluded Ben Hall. However, it was for those in Australia, including Ben Hall who with courage and determination that for them the land could offer that same
Born in Sydney, Australia in 1973, Ben Quilty became an Australian icon, establishing himself in different occupations such as an Australian artist and social commentator. Some of his most prestigious wins are the 2014 Prudential Eye Award, 2011 Archibald Prize and the 2009 Doug Moran National Portrait Prize. As a young child Quilty grew up in Kenthurst, in Sydney's north-west. Quilty now lives and works in Robertson, New South Wales.
Psychological awareness and an indication of an inner life is central to a portrait – with certain techniques, an artist can represent the emotions and personality of the sitter as well as showing the effect and influence they had on people. Using symbolic colours, styles and depths, Gordon Bennett and Andrew Mezei are successfully able to characterize the inner life of their subjects. Gordon Bennett’s “Eddie Mabo” is a portrait of Koiki (Eddie) Mabo, a Torres Strait Islander responsible for initiating a legal case for native rights against the State of Queensland in 1982. In 1992, Mabo’s case was approved, and it was decided that the Mer people (from Murray Island) were the traditional owners of the land, four months after Mabo died of cancer.
Jefferson Cowie’s Stayin’ Alive is a historical analysis of the voices and perspectives from the late 1960s to the early 1980s. Cowie, a historian, utilized rhetoric from the everyday Americans to the powerful politicians. This helped to provide accurate depictions and layout the themes of the book about the realities of this time. Whether a person had political beliefs that were to the left, right, radical, liberal, or conservative; times were changing. Stayin’ Alive describes how the fundamental realignment during this time can be broken into two mini books: Hope and Confusion and Despair in the Order (Cowie 11).
Also, imagination is not just for artists, but for all. Seerveld is driving home the point that being human (being made in God’s image) means that one should relish the role of having aesthetic opportunities in life. Recently, works of Calvin Seerveld were collected to create the book, Normative Aesthetics. In a section titled “Ordinary Aesthetic Life: Humor, Tastes and ‘Taking a Break,’” Seerveld brings the tin-can model to readers. The tin-can model is all the essential components of creature-hood for the Christian, which includes the physical, biotic, sensitive, technical, aesthetic, lingual, analytic,
Who is Benjamin Jealous? Benjamin Jealous was the NAACP leader from 2008 until 2013. Ben also was the youngest NAACP leader in history and under his leadership, NAACP grew into the largest civil rights group in the US. Before Jealous was the leader of NAACP, he was a journalist for 15 years, and had a passion to fight for people’s rights.
The Infortunate by William Moraley followed the journey of a man, William Moraley, as he traveled to the colonies and then eventually back to England. He faced many obstacles as he tried to find success within the colonies, but ultimately he failed. Through his journey William Moraley was not lazy, he had to network himself and find work so he could make his way back home to England. In addition, Moraley seemed to be constantly running into bad luck and didn’t have the right skills to truly succeed in the colonies. William Moraley was not lazy because he was willing to work until he found a way home
Language has the power to both reveal and challenge audience’s perceptions and assumptions about identity. Henry Lawson’s “sketches” represent aspects of identity through his use of form and language in “The Drover's Wife”, “Our Pipes'' and “Shooting The Moon” which portrays a gendered bush identity - the male swagman identity affirms audience’s expectations, while the female portrayal challenges assumptions about identity. Both representations of male and female identity are conveyed as a product of the harsh reality of bush life. Our Pipes and Shooting the Moon affirm the audiences’ expectations of male relationship through the theme of swagman identity. Lawson affirms the expectations in Our Pipes as he portrays male characters who have
Individuals are consistently pressured by gender expectations within societies, predominantly in rural towns during the 1960’s. Silvey’s utilisation of characterisation and point of view of Charlie Bucktin presents the traditional gender roles in Jasper Jones, set in Australia during the 1960’s. As Charlie prepares himself to set foot on a journey with Jasper Jones, he noted his appearances and display of femininity: “…the application of pansy footwear, is my first display of girlishness… I jog back with as much masculinity as I can muster, which even in the moonlight must resemble something of an arthritic chicken.” This excerpt shows that Charlie is challenged by Corrigan’s gender expectation of masculinity.
Winton uses the characters of Mr Pike and Mr Loon to provide contrasting views on the constructs of masculinity present in Australian society during the 1970s. In Sawyer, there are not many opportunities offered to young Pikelet, but as they are male, they are expected to follow in the footsteps of the other men in town, becoming fishermen or miners. However, a great deal of his masculine identity is shaped by his father’s masculinity. Mr Pike is timid and “naturally subdued” (p12) and as a teenager, Pikelet finds it difficult to relate to him. He is not a strong or inspiring figure and is instead a masculine model who is cautious of the natural world.
He assesses the damage to his mother’s vehicle. The protagonist had earlier rebelled against morals and standards, but he now wants to return to normalcy. At the
It is hard to understand the struggle of another person that is forced to live in a society where they are seen as inferior to the societal norm due to uncontrollable circumstances. How It Went Down by Kekla Magoon is a story about a young African American male that is shot by a white American male. The story is made up a multiple accounts of the people connected to the lives of Tariq Johnson and Jack Franklin. These are real life accounts of the person 's emotions and their point of view on the incident. The big question of the entire incident is whether Tariq was armed or not, and the more we are exposed to multiple stories the further we are from the truth.
Edward Hopper’s painting, House by the Railroad, portrays the isolation and vacancy of an abandoned Victorian mansion. Paired up with the poem, Edward Hirsch brought the mansion to life with vivid use of personification and imagery. By tying in my perceptions from both pieces of art, I got the impression that society abandoned the mansion for a sole purpose, particularly one that left the mansion “feeling” out of place and useless. When I first saw the painting, my attention immediately geared towards the shading of the mansion. The shading of the mansion sets the mood for the picture, forming a paradox that helps us infer the underlying meanings of the artist’s depiction.
