Race Discourse In Visual Art Analysis

While Disney animated films are the ideal family movies, it is undisclosed to many that such racism is being portrayed. "Rarely do we ask about the origins and intentions of the messages we encounter through mass media; sometimes we forget that [producers] have origins or intentions at all" (Lipsitz 5). The social inequality found in such popular culture can be due to several reasons. According to David Croteau and William Hoynes in Racial Crossroads, media content can be the reflection of producers, audience preference, or society in general (Croteau and Hoynes 352). In their films or other such media, producers often reflect on personal experiences. In other words, they may "draw on their own family lives

Lorraine O’Gradys’ unintentionally historic performances, seemingly elevate everyday life to the status of art. In her ‘exhibit’ at the Studio Museum, her work is represented through photographs, in ‘Art is…’. Thirty years ago, O’Grady presented ‘Art is’ in the form of a float in the African American Day Parade right here in Harlem. Performers pranced with empty frames, metaphorically capturing fleeting pictures of the people and places that surrounded the route of the parade. By doing so, the trappings of high art were brought out of the museum, into the street, which promotes a new way people might begin to recognize this new art form in the celebrations of every day life. The

When we look at this piece, we tend to see the differences in ways a subject can be organized and displayed. This assemblage by Betye Saar shows us how using different pieces of medium can bring about the wholeness of the point of view in which the artist is trying to portray. So in part, this piece speaks about stereotyping and how it is seen through the eyes of an artist.

Mexican muralism offers us one of the most politically charged and expressive art forms of the 20th century. David Alfaro Siqueiros and Jose Clemente Orozco are two of the three so called triumvirate of Mexican Muralists, the third being Diego Rivera. Both of the artists have a unique style and a strong sense of morals and political ideals. Their styles are similar in the sense of the amount of expression and movement in their pieces They also share a common ideology that shows up often in their work. Siqueiros’ Portrait of the Bourgeoisie and New Democracy along with Orozco’s American Civilization and Catharsis show you a great cross section of Mexican Muralism, revealing the passions and beliefs of the time period.

Race and identity has been a problem in the art world for as long as art history has been recording it. Those who were white and male were always held in more prestige and had more visibility and honor given to their work. Those who were gay had their gayness glossed over in history books, and those who were women had their art attributed to men or were discouraged from doing it. This erasure wasn’t just a problem that happened only in the art world, but this sort of racism and sexism definitely effected it. It wasn’t until the 1960s and the Civil Rights Movement that social justice became visible in the mainstream media and artists who were previously marginalized gained some visibility. Even then, the people in power did not always do the

Bright colors jumping at you asking for attention, images so real viewers can not tell the difference. These are the thoughts that came to my head as I gazed at two works of art by two Mexican artists at MoLAA museum of art . I visited two museums, Bowers Museum of cultural Art in the heart of Southern California and the Museum of Latin American Art in Long Beach for my report unfortunately I only liked the works in MoLAA and will talk about it through out my paper. I will talk about two Mexican artists Rafael Cauduro and David Alfaro Siqueros that caught my eye, and made me want to learn more of them and their approach to art. Siqueiros caught my eye and interest because according to his biography “no

Although the topic of race is a multifaceted topic with many elements that have developed over time, the topic race, however, has always been a way for people to justify personal gain by objectifying people’s inherent differences. Many authors and important figures like Charles Darwin and the Kellogg family used race and other techniques like eugenics the stripped away the thinly veiled cover that slightly suggested that all people were the same and partially equal. They wanted the people to understand that the only race to have the best chance surviving and over the best genetically fit race would to be to sterilize lesser races so that there would not be any competition or genetic impurity.

Edwidge Danticat reflects "on the book art and exile" the relevant meaning to be an immigrant artist from a country with significant social dilemmas. The Immigrant Artist at Work combines memoir and essays that discusses the stories of artists, including herself. I have the impression this book represents the, oppression, discrimination, racism, and poverty that affect Haitian society. Danticat suffers from the social dilemmas of her homeland since she was twelve years. At this age she move to the United States but still cares about the critical social problems that has affected her homeland.

As an artist I want to take on social issues faced by minorities in my community, voicing my own opinion on the topic. In the media are stereotypes that many minorities are defined by; the angry black woman, the hoodlum, the criminal. There lacks recognition of the knowledge, beauty and culture that surrounds minorities. This being said, my art showcases minorities, especially women of color, as principal figures historically, and in contemporary work. Ms. Hill encourages me to go beyond the boundaries of my art, finding new ways to challenge and developed my narrative. With her guidance i have been able to gain opportunities that i could not have received on my own. In a way, she has shaped who I am as a artist, im not only an artist, but

The works of Colombian artist Fernando Botero are, today, easily recognizable in their distinctive style. His characters, born from his imagination, come to life on the canvas as voluminous and smooth surfaced beings. Through a visual analysis of two of his works with a greater focus on one, I demonstrate the way in which the artist uses the importance of size in figural representation to construct and paradoxically invert stereotypes pertaining to class and gender. The conversation taking place between the various elements within the canvas and the role of the viewer also demonstrates the artist's efforts to highlight the internal political and social turmoil that haunted the Colombia Botero was born into.

Wilfredo Lam’s Untitled, 1953 and Matta’s Untitled (Flying People Eaters), 1942 share a wall in gallery 397 of the AIC. The two drawings were completed within 12 years of each other, and they seem be in conversation as surrealist compositions. Both pieces incorporate primitivist imagery into their engagement with the surreal. However, where Matta uses this imagery to further Freudian shock value and bring forward abject discomfort, Lam uses “primitive” symbology to discuss notions of Afro-Cuban identity through a cubist and surreal lens.

Any art medium can be utilized to tell a story or evoke emotion in a viewer. Artistry is unique in that it is purely visual and can be left to interpretation if the artist chooses to stay ambiguous in the message they are trying to convey. As an artist, I am always trying to analyze the meanings behind famous works of art, whether those meanings happen to be incidental or purposeful. So, when contemporary artist, Enrique Chagoya expressed his adoration for the social commentary expressed in Francisco Goya’s Los Caprichos sketches, I was intrigued.

I set foot in the Norton Simon Museum in Pasadena on October 25th, 2015. As I step through an entrance marked ‘European Art: 19th Century,” I’m instantly greeted by a plethora of bronze figures with a placard under each of them reading ‘Edgar Degas.” I moved on to peruse the art hanging from the walls when I noticed a correspondence between the bronzes and the paintings — both depicting unaware figures in the midst of ubiquitous activities. I then came to a halt in front of a compelling piece. I dwelled on the two dancers’ swaying bodies progressing further into the painting. The audacious color palette trapped my eyes and the composition guided them around. The focus was drawn to the structured

This exhibition at the MoMA allows viewers to rediscover how Degas manipulates his strokes to generate a romantic sense of poetry based on the contrast between black and white imagery. Some argue that these famous,

Beginning with the Renaissance the Church is no longer the only primary patron of the arts. Private families, governments and other secular (non-religious) groups begin to hire artists with greater frequency.