Carrie Mae Weems Artwork

Carrie Mae Weems is an African American artist, who works with text, fabric, audio, digital images, but mostly known for her “Kitchen Table” photography series. Her art is focused around the serious issues African American have to face in the United States every day.

The primitive nature of African art attracted many artists looking for new inspiration and expression as urban modernity lost its vitality in the late 1880’s and 90’s (Wood, 2008). In adopting primitive African art as the catalysis for their expression of modernity, avant-garde artists created a more positive perception of the primitive rather than the negative barbaric perception. Wood (2008) quotes the early twentieth century, avant-garde critic Carl Einstein in that the Benin artworks were of no decisive significance. In fact, the western artists reduced their sophisticated beauty of the artwork as seen in

Throughout time, the representation of a particular subject matter in art has changed to encompass the values of the time and place or challenge them through art. An artist is influenced by society’s ideologies’ and thus either represent these ideologies’ or challenge them within their artwork as well as being influenced by the events of that time. Through the works ‘Mosaic of Emperor Justinian and his Court’, ‘Olympia’ by Edouard Manet, ‘Le Demoiselles d’Avignon’ by Pablo Picasso, performance artist Orlan and

This paper will be describing and analyzing the African Art Galleries in the Metropolitan Museum of Art. The galleries that will be critiqued in this paper are 350, 351, and 352. Gallery 350 (Samuel H. and Linda M. Lindenbaum Gallery) is an averaged size rectangular room that spans about the length of a sidewalk. The gallery contains several carved wooden sculptures, primarily located in the center of the gallery that immediately take over upon entering. While most objects are not enclosed in cases and are instead freestanding, some works such as the Senufo Face Mask are not freestanding and are supported by a wall in a case allowing for frontal viewing. The Bozo door has a slight relief and can be viewed frontally as it hangs on the wall. Some freestanding works are displayed in cases that are built into the walls of the gallery, which limits the individual’s ability to view the work all the way around. Though external lights bring some brightness into the gallery, they seem to add a muted sepia tone to the room. In the cases against the walls, the lights are installed in the panels above the pieces in order to provide an even distribution of light amongst all of the work. In the entire gallery, the lights are scattered on the ceiling and angled in a way to provide light on each sculpture. The sculptures are arranged in a geographical manner since most of the items are from the people of Mali and Côte D 'ivoire . In this gallery, the pieces are also grouped in a

The book provides new insights into little known works. Six chapters are completed comprising roughly 70% of the book. The remaining work includes analyzing principal artworks, fact checking, revising, and editing. Painting Like A Man is a nuanced narrative that will transport the reader to such divergent places as O'Neal's birthplace in Mississippi to international locales such as Morocco and other places where her histories reside, studios where work is created, and her home where she nurtures her thoughts.

Carrie Mae Weems, her art shows more about the relationship to power of every individual. She allows her images to amplified, show the power of the structure that will give meanings, and getting rid of stereotype images. The images told the story of her family, and she has said that in this project she was trying to explore the movement of black families out of the South and into the North, using her family as a model for the larger theme.

Picasso’s Les Demoiselles Avignon, I believe was inspired by Cézanne by its innovative perspectives of the human form, but at the same time it abandons all classical art ideas. This painting exhibits a whole new look at female beauty and inspiration of African art, big departure from what had been seen previously. (Pablo Picasso, 2017)

Shifting Views: Peoples and Politics in Contemporary African Art, is the Baltimore Museum of Art's first exhibition of contemporary African art. Works by Senam Okudzeto, Diane Victor, Julie Mehretu, William Kentridge, Gavin Jantjes, Robin Rhode, and David Goldblatt include photographs, prints, and drawings that center a variety of local and global African diasporic issues: Migration and globalization, apartheid and state-sponsored surveillance, public and private space, segregation and stereotype are all on display here. The seven artists included in the exhibition are representative of three countries: South Africa, Ethiopia, and Ghana, though many of the artists currently reside in Europe or the U.S. The show's curators were especially interested in South Africa; five of the seven participating artists hail from the country. Three of those South African artists are white, and one is of mixed race.

The Latin American art is the combination of many countries artists work which are from South America, Mexico, Spain, Central America, the Caribbean and all other religions. The art has its roots in many different cultures. The Latin American art is also known as Latin American culture. Every painting in Latin American art has its own culture and religion that teach us and explain the reason behind every painting and also tells us about the artist who had painted. Most of the paintings that we had read about in the art class and saw are painted by Mexican or Spanish painters. My argument in this paper is that in the Latin American art the paintings are the one that are more attractive that make us to know about the religion and the story behind

In this paper, I will attempt to compare and contrast a western and non-western piece of art using the visual elements and the design principles I’ve learned this semester. I will also explain why I believe the western artist was influenced by non-western art and give a brief description of the artist and the culture that inspired them.

Take, for example, the woman painted in Spirit of the Dead Watching (1892). Gauguín portrayed her lying upon her stomach on a bed, with the spirit of the dead seated behind her. Her pose is suggestive, and she appears to be ignorant of the spirit behind her. In Gauguín’s portrayal, she lost all semblance of personhood and became simply a body to be studied. The suggestive and erotic nature of her position, which conveys vulnerability as well as something of an invitation, is emblematic of the trope of the dusky maiden. Portraying young indigenous women as promiscuous and naïve, this trope was emphasized by European colonial powers as a justification for their oppression of native peoples. They lack common decency, it suggests, and require the guidance of “civilized” Europeans in order to be rescued from the error of their ways. Gauguín’s portrayal of the woman in Spirit of the Dead Watching typifies this generalization, perpetuating it and enhancing it for his audience. In his article, “Gauguin,” for The Burlington Magazine, Roger Cardinal speaks of how much of Gauguín’s work heavily eroticises young indigenous women. In his words, “With Gauguin, aesthetic pleasure can hardly be dissociated from sensual pleasure...Central to Gauguin’s Tahitian narrative was the persona of the European adventurer who had ‘gone native’ and made a string of dusky conquests.” With this romanticisation of life among the native

The subject matter exhibited in this representational work of art is four people that are gathered around rigid rocks. The two figures on the left are black, young-adult women, and a younger black boy on the right is looking up at a tall older white male in the center. Even though the use of silhouettes hides fine details, the women and the child portray exaggerated stereotypical racial features. The women are wearing head wraps, which are exclusive to women of African descent, the boy has Afro shaped hair, and all three have large protruding lips. Their clothes are worn down and ragged compared to the man’s attire. The white male’s features are less obvious, but the texture of his hair and lack of lip definition is apparent.

Throughout my travels through The Nelson-Atkins Museum of Art, I landed myself in Gallery L9, the African art museum. I connected closely to the African masks, such as the Helmet mask, Guere mask, and the portrait masks. Through class readings in chapter 20: Africa, I was able to enhance my experience of the exhibit. I was able to learn about ceremonial masks. Throughout the chapter, the textbook kept exemplifying that African art did not create attempts to be seen for joy, yet rather to satisfy a capacity of society and religion. This was portrayed through the Portrait masks.

Two of the most influential and modernist pieces of art nowadays are from Pablo Picasso and Franz Kafka. These two men are known by their remarkable projects, “Guernica” and “The Metamorphosis”, these pieces became a part from our past history and struggle. Both pieces were created in different times and elaborated with different techniques but they are been implying and teaching about a dark epoch for human actions and conscience, which have been depicted in their content for future generations. Due to the broad perspective about humanity’s inhumanity given in their content both pieces have been categorized as modernist allegories because they are able to show the dark side from society actions and how the consequences can impact people’s

Art makes a statement, it is as simple as that. The most preferred type of art emotes happiness to the viewer throughout all of history. Yet, throughout the years, artists have come to challenge society’s preference of art. Artists like Gustave Courbet, Francisco Goya, and Ai Weiwei, who decided to take the challenge and start a new progression. Social critique through art is blatantly shown throughout each of their pieces: Stonebreakers, The Third of May 1808, and Sunflower Seeds. All three are similar yet different. Through comparison, a similar theme still remains present: Each artist 's social critique through their artwork. These particular types of artwork will show how one moment in history changed the view of millions throughout centuries of time. With the use of symbolism, positioning of figures, historical context, color usage, and many other elements, these three works of art make an inspiring statement to the world.