The Impact Of British Art On The World Of Art And Opportunities

Racial identities are an ideological, social construct and phenomenon adopted by various literature. Many literature authors select the subject of race to identify the existing stereotypes of race in the modern and ancient societies. Toni Morrison reveals her beliefs about racisms through a graphic description of the Recitatif plot. The style allows the reader to experience the true nature of racism and revelation of personal traits without the use of race. In the short story, Recitatif, Morrison deliberately denies her characters, their racial identity contributing to the ambiguity fluctuating between the dominant races, white and black. The author reviews the historical events of the 1960s and 70s that promote the racial identities of White and African-Americans. Changing the expectations of her readers on the solutions based on stereotypes, further spreading the awareness of the racial stereotypes that are controversial topics on human existence (Löchle 4). The ironic nature, literature tricks, and the plot of the story embrace the racial stereotypes unfolding in the narrative. The author engages her readers through a closer reading through the adoption of literary elements, allowing the readers to fill in the gaps in the story. Through their participation, the readers develop an emotional attachment to the characters and the story, generating a deeper understanding and reversal responses. In particular, the ambiguity of racial

standards of art and its views on social roles” (Hamilton, 114). White Western society plays the

In his essay, Complexion, Richard Rodríguez uses the rhetorical modes of description and symbolism. The description gives the work a story-like flow, while the symbolism makes the reader more able to experience the emotions and feelings present within the authors “complexion.” The utilization of the stylistic tools aids in conveying the true message of the author’s claim which is that he received mass racism out in the society. Since the essay is an account of his own experiences with racism, the description works well to take the reader to different periods of time and events in Rodriguez’s life.

"Exploring Art: A Global, Thematic Approach, 5th Edition. "Exploring Art: A Global, Thematic Approach: Margaret Lazzari, Dona Schlesier: 9781285858166: Amazon.com: Books. N.p., n.d. Web. 11 July

The Black Arts movement refers to a period of “furious flowering” of African American creativity beginning in the mid-1960’s and continuing through much of the 1970’s (Perceptions of Black). Linked both chronologically and ideologically with the Black Power Movement, The BAM recognized the idea of two cultural Americas: one black and one white. The BAM pressed for the creation of a distinctive Black Aesthetic in which black artists created for black audiences. The movement saw artistic production as the key to revising Black American’s perceptions of themselves, thus the Black Aesthetic was believed to be an integral component of the economic, political, and cultural empowerment of the Black

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

Art is a conveyor of whatever message or story a person wishes to share. As a society, we’ve become accustomed to the abundance of diverse messages and stories stemming from a multitude of cultures and people of varying backgrounds. However, the art scene has not always been this representative of all people. Contemporary artists such as Titus Kaphar, Kerry James Marshall, and Norman Rockwell have taken it upon themselves to proclaim the importance and presence of African Americans in history. Using purposeful art composition and meaningful symbolism, these artists address the imbalance power between African Americans and whites in regards to the lack of representation of African Americans in the history of art. By addressing this imbalance

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

Black people in the artworks are often interpreted as subjects showing primitivism. “Primitive” and “tribal” art are usually positioned as the opposite of modernization and classicism. It suggests of the other side of colonization times: the natives, the under advanced societies. Such as Eastern societies, Africans are commonly interpreted as sources of the colonized, and it is expected from them to imitate the power sources and learn from them.

The topic of stereotypes is also explored through literature. For example, in the story, “Desiree’s Baby,” Armand shows hatred for the African-American race by casting out his wife. However, he later discovers he’s a part of this race. The speaker says, “Satan seemed to suddenly take hold of him in his dealings with slaves.” (Chopin).

Art has always played an important role in the way people live, think, and how they feel about themselves. From the outset, art in Australia takes a part in shaping and sharing of the cultural identity. The modern movement of the twentieth century in Melbourne and Sydney formed a small, supportive group to advance their theories. Nolan and Russell Drysdale were responsible for the depiction of the most desperate images of the Australian life of that period. One of the most significant things is that in a period between the wars there were a high proportion of important woven artists. They got the leadership in the modern movement in Australia. It was probably due to the increased independence and status of the Australian women

However the protests in the world today can also influence other things such as politics, companies, and mostly anything that can provoke people to be against. However, I believe that art has a big influence on my opinion of the world today. I believe that even if almost all of the art is a depiction of the world today, I believe that these are mostly by the view of the European culture. This is because, in our history, many of the Europeans countries were the people who helped found and influenced the countries to be what they are today, and the art that we create are also formatted by the ideas of the Europeans, such as the British, French, Italians, and many other European countries. Also with the violence in our world today, I believe that changed the art direction as well, as art used to be peaceful scenery of everyday life, to a gruesome type of pictures of war and blood. People like Erik Erikson, Cindy Sherman, Kehinde Wiley, Phillip Akkerman, Kerry James Marshall, Yoko Ono, Kara Walker, Keith Haring, and Ai Weiwei all showed many different types of formation of art and what they do, and they showed how the art world have changed throughout the years that their art was

In “Social Space and the Genesis of Groups”, Bourdieu (1982) discusses how habitus, as well as different kinds of capital, can combine to determine an individual’s place in society (Bourdieu, 1982 as cited in Applerouth & Edles, 2016). In “Outline of a Sociological Theory of Art Perception”, Bourdieu (1968) discusses “art” and how it is that those with greater capital are able to engage with art (Bourdieu, 1968 as cited in Applerouth & Edles, 2016). Although the greater narrative implies that those with greater capital can engage “art” because of innate qualities, the reality is that through their continued exposure to art (which stems from their economic capital), they can develop an understanding of it (Applerouth & Edles, 2016). In Edward Said’s (1978) Orientalism, Said (1978) discusses “orientalism”, the areas of study that focus on the areas “east” of Europe (Said, 1978 as cited in Applerouth & Edles, 2016). Said’s (1978) point is that “western” scholars have created this idea of the “orient” to create a distinction between themselves and those from areas that were part of the “oriental” umbrella (Said, 1978 as cited in Applerouth & Edles,

These same issues, and the meanings behind them, remained a part of art for years to come. The artist of this movements rejected traditional ideas, and influenced art in the modern world. The rejection of society and an “arrogant originality and a subversive defiance of all conventions” (Haslam), is at the forefront of artistic stereotypes today. Artist often consider themselves on a different plane, not a part of society, but observers looking into and criticizing society. This idea as the artist as an observer of the day to day, rather than someone who simply creates art originates in the art nouveau movement.

The following essay will begin by describing this notion of othering and how then it becomes a great catalyst in the formation of binary oppositions. The essay will further explore this phenomenon of othering using Frantz Fanons book The Fact of Blackness, giving a clear understanding of the concept and how it is presented in relation to the book mentioned above. Using various scholars such as Gcina Mhlope (Life an an Orange) and Zakes Mda (When People Play People) the essay will continue to use the theatrical approach presented by these scholars to link the phenomenon of othering into the theatre space in order to have an audience understand this notion. Lastly using No Good Friday by Athol Fugard this paper will indicate if whether or not