Yayoi Kusama

Art galleries are essential to the art world, however, is not the only source for audiences to view art. To begin with, art and artwork is defined as the application of human skill, creativity and imagination. Taking this into consideration, individuals need to examine the nature and purpose of art galleries as a facility to collaborate, organize and display a collection of artworks. As art however, is any expression of human creativity, its presence is not bound to art galleries and is evidently present in the world around us be it in photographs, the internet or even in graffiti.

Margaret Lazzari (Author),. "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. 29 June

"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 artwork Blinded by the Light (1991) by Yasumasa Morimura is an appropriation of Pieter Bruegel the Elder’s The Blind Leading the Blind (1568) (Israel, 2005). Morimura has appropriated paintings and photographs throughout the ages, though The Blind Leading the Blind is the earliest dated work that Morimura has appropriated (Marsh, Watts, & Maylon, 1999). Morimura super-imposes a composite self-portrait on top of Bruegel’s painting, successfully changing the meaning of the piece. The different historical contexts of the two pieces in conjunction with appropriation allow the accumulation of ideas to present two separate meanings pertinent to the ideals of the times. Morimura’s simultaneous use of the historical and religious aspects of The

Art is not always pleasant, but neither is society. Art and society have a reflective relationship with one another. During social, religious, and political controversy, artists such as Frida Kahlo incorporated imagery into their portraits of society which are often disturbing to the viewer. The role of an artist often includes acting as a social critic, to show us aspects of our cultural landscape that are unpleasant. In this manner, the art acts as a commentary on the negative aspects of Western civilisation. During the thirties and forties, Kahlo incorporated the hidden realities of economic and social depression into her works.

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

“Artists today explore ideas, concepts, questions, and practices that examine the past, describe the present, or imagine the future.” Contemporary artists use a dynamic combination of media and technologies, methods, concepts, and subjects to create works that reflects The Human Condition in modern culture and society. Three contemporary artworks that utilise these artistic practices to express The Human Condition are Michael Parekowhai, Tracey Moffatt and Vernon Ah Kee. Each artist has used artistic devices to express the contemporary significance of The Human Condition by creating works that reflect back to their own experience and the history of their nationality.

The fourth lesson will be analyse the content of the picture book “Why I love Australia” by Bronwyn Bancroft. The lesson involves: discovering the visual art element and principals of the illustration (VAES1.3); introduce the artist Bronwyn Bancroft (VAES1.3); explore the traditional Indigenous feature and art technique used in the illustration (VAES1.3); reading the book to class, and guiding student to discover the relation between the words and pictures (ENe-1A).

Aboriginal art in Australia is both beautiful and meaningful. According to Perkins, Hetti and West (2007) Aboriginal art allows for reconciliation of the events of the past two centuries’ that is used as inspiration for their work. Whilst researching the Indigenous cultural heritage of Mount Barker, Western Australia I came across a well know Noongar artist from the region, Charlie Colbung. Colbung was born in Mount Barker in 1970 and still resides in the South West region where he is an Indigenous health worker as well as an Indigenous programs officer for the Great Southern TAFE (Design and Art Australia, n.d.). There are two prominent themes in Aboriginal art consisting of both country such as the land and kinship, the people (Perkins, Hetti

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

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

As curator I wish to recommend the inclusion of artworks by Danie Mellor and Cia Guo-Qiang for the upcoming exhibition “Utopian Australia – the Lucky Country?”.

On March 22, 1929 in a mountainous region called Matsumoto which can be located in central Japan the world-famous artist Yayoi Kusama was born. Around the age of 10 she began using water color paints and lightly started to dabble in the arts. Kusama says she took up painting around the same time she started experiencing hallucinations. However, her family was not supportive of her pursuing any form of arts and would actually ruin the work she created as such a young age in hopes it would deter her from continuing in the field. Her family came from a very traditional upbringing and because of that wanted Kusama to continue on and go down the more conventional path of becoming a Japanese housewife. Which is completely ironic now considering where

Ah Kee’s boards incorporate traditional shield designs in the colours of the Australian Aboriginal flag, and on the flip side, beautifully drawn portraits of family. The critically acclaimed work was selected as Australia’s entry to the 2009 Venice Biennale.

An artist 's psyche can 't be placated by the ordinary or carried on by business as usual; it is parched to search out the human condition and to look profound into individuals ' characters.