Lorraine O Grady Research Paper

Contemporary artist Fiona Hall challenge traditional perceptions of art in approach, techniques and practice by continuously breaking down barriers and pushing expectations. In doing so they also change

The intersection of social movements and Art is one that can be observed throughout the civil right movements of America in the 1960’s and early 1970’s. The sixties in America saw a substantial cultural and social change through activism against the Vietnam war, women’s right and against the segregation of the African - American communities. Art became a prominent method of activism to advocate the civil rights movement. It was a way to express self-identity as well as the struggle that people went through and by means of visual imagery a way to show political ideals and forms of resistance. To examine how a specific movement can have a profound effects on the visual art, this essay will focus on the black art movement of the 1960s and

The entire interview was intended to a specific audience – artists. Thus, ethos was a vital technique to establish the speakers’ credibility in their commentary about the art industry. Both Wiley and M.I.A are recognized artists in their particular fields. At the onset, their credibility as artists and thus, critics of the industry are well established throughout the interview. By narrating a wealth of experience in working with different artists from different countries, their thesis about the death of art in New York is strengthened. By reputation, both artists are multi-awarded. Wiley is a Yale educated portrait painter whose work has been cited for its unique fusion-style rendering of African-American men in heroic poses. He is recipient of the Artist of the Year Award from

In addition, I will examine the differences between male and female sexuality and how each tended to be perceived and treated by society. Then, I will look at prominent female artists and their personal experiences and beliefs on feminism and the female in their art focusing on how it tended to be received along how male artists responded to it. Mainly, I will be analyzing the clash of sexualized images in art, focusing on the differences not only between male made art versus female art, but the differences in the women’s art community, as well. What are the reasons and goals for women to use a “sexualized image” of women in their art versus

To this day there are still many unresolved issues of racial stereotypes and racial inequality throughout the United States. And it is undeniably seen that the world today embraces multi-cultural and sexual orientation, yet there is still an unsupportable intolerance towards ethnicities and difference. The biggest issue in the world today is the struggle for African Americans to end racial stereotypes that they have inherited from their past, and to bridge the gap between acceptance and social justice. One of the most effective ways that blacks have found to bridge this gap, was to create a new way for society to see the struggles on an entire race; this way was created through art. African American artists from around the world are utilizing their skills to bring awareness to racial stereotypes and social justice. When I became and artist, I was afraid that I would not be accepted in the art world because of my race, but it was from the creation beauty and truth in African American art that I was able to see that I could succeed. When I saw this art my immediate feeling was that I was that I was proud of my race. I knew that I wanted to be an artist and I knew that I had a chance to do something great and to make those around me proud. It was because of contemporary African American artists art that I realized what beauty and truth could do to a person’s perspective. Looking back on this, I’m reminded that the most important thing about beauty and truth is

I fell in love with methodologies of art history. I felt empowered in that, through my own interpretations, I could attach words and meaning to objects. My study of art history reached a turning point when, in 2012, I took a class entitled Identity in a Post-Identity Art World: Gender, Race, Sexuality, and Trans/Nationality, 1990 to the Present. The course endowed me with another lens with which to examine works and, more importantly, shed light on representations of marginalized identities. As a result, I was introduced to the writings of Judith Butler and Simone de Beauvoir, both seminal theorists who inspired my own analyses. I enjoyed every minute of conducting research and forming arguments to support my claims. Ultimately I was interested in developing my understanding of issues in contemporary art further and sought to accomplish this by engaging with a larger

When I attend the Oklahoma Art Museum this morning, I was completely blown away by the different styles, technique, and artistic abilities that artist have. Art can come in many forms and can involve many different things. From paintings, sculptures, and abstract pieces of the modern world. Along with my visit, I got to experience a new collection of blown glass that was absolute remarkable. As I walked though the museum, it was as I walked though time and got to see how each period’s art changed throughout time. From the different shades of color to the different types of technique that filled the halls of the Oklahoma City Art Museum, each piece was genuine in its own way. I was starstruck as I witnessed Lowell Nesbitt’s Parrot Tulip, Richard Diebenkorn’s Albuquerque, and Dale Chihuly’s blown glass.

“Colors and shapes make a more definite statement than words,” stated Georgia O’Keeffe 1976. Georgia O’Keeffe used art as a way to express her own feelings toward the world (“tacomaartmuseum.org”). She attended many colleges, art jobs, and travelled internationally looking for inspiration (“biography.com”). Non-stop searching for inspiration, time and dedication to make art a living, and her years of training and practicing to become the great artist she was, all contribute to Georgia O’Keeffe’s status as a great American.

This piece was created during a time of political and social change. Increased political awareness and a focus on celebrity demanded art that was more

“I found I could say things with color and shapes that I couldn't say any other way - things I had no words for” (O'Keeffe). As she began travelling internationally her work went in yet another direction. One that invoked a sense of the dynamic places she was visiting. Her painting focused on landscapes. Majestic mountain peaks, rivers, clouds, also the regional scenes like the harsh landscapes of the high deserts, adobe architecture and indigenous art. “The Brooklyn Museum’s exhibit “Georgia O’Keeffe: Living Modern” highlights the understated, androgynous style that helped shape the artist’s public persona. (Mlotek, 2017)”

Moreover, other pieces show the lives and struggles black people have endured since their freedom in the 1960s. Stevens, Ellis, and various students’ art depict the reality of black history in a time when much of black history has been forgotten or altered . The pieces show

The Whitney Museum of American Art has often been referred to a citadel of American Art, partially due to the museums façade, a striking granite building (Figure 1), designed by Bauhaus trained architect Marcel Breuer. The museum perpetuates this reference through its biennial review of contemporary American Art, which the Whitney has become most famous for. The biennial has become since its inception a measure of the state of contemporary art in America today.

To fully understand street art as a concept in itself, it is vital to explore why the art is made on, and for, the street. According to Chung (2009) art on the street “allows artists a platform to reach a broader audience than traditional art forms”. This is supported by Young (2016) who argues that the “street is the biggest gallery you could ever want”, the author goes on to note that often a “galleries audience is self-selecting and homogenous”- belonging in an “elitist art world”. This implies that unlike classical art in galleries, street art cannot discriminate and is open and available to everyone despite their background or beliefs. Not only does the street allow the art to be widely seen, its accessibility indicates the ideas of

Street art and graffiti are two different styles of urban art, and yet they still hold some of the same characteristics. After all, street art was born out of graffiti, and an article in Huffington Post described their relationship in the clearest way: “Graffiti was the template, the means, the method. Street art adopted all of this and pushed the boundaries of what outside art can be, going beyond anything achieved during the Golden Age of graffiti’s early evolution ” (McCarthy). In every city, there is evidence of graffiti and street art, both legal and illegal. Street art includes more “art-like” styles, with more imagery than just words. Because of the

“I think a lot of people think of art as taking place in these discreet places like galleries and museums things like that and just getting it out of that is a way of redirecting your thoughts about the potential of art and what it can actually do and how it can function socially”, Curtis Jones.