Wednesday, May 2, 2018

Five Artists Five Themes



                                                                        Five Women

1. Marina Abramovic (Ephemerality) - The ephemeral fact of Marina Abramovic's work dwells primarily on an interest in the transcendent; as her work endeavors to embody the immateriality of our very existence. Which is to say that the impermanence of our condition as humans is the emphasis; as her work persistently expresses a fatalism and futility that has become characteristic of her oeuvre. The idea being to create a context for art that does not depend upon possession but rather the physical presence of the performer and the audience as the artistic expression occurs in real time. This fundamental of performance initially seemed to resist the commodification of art but it is worth noting that Abramovic has since succeeded in monetizing her creativity which is not at all counter intuitive to her aesthetic and is certainly essential to her longevity as an artist. The sale of memorabilia and merchandise cannot replicate the performance itself and due to this fact the integrity of her aesthetic is retained as the impetus of physical presence remains paramount.

2. Miranda July (Eccentricity) - Miranda July is among the most unique and individual artists that I have encountered in my lifelong survey of the creative landscape. She is a multidisciplinary artist whose expression encompasses various mediums including literature, performance, and film. All of which express her incredibly specific sense of the world as she uncovers her own peculiarities and thereby shines light on the inherent strangeness of human experience. An experience that we all share and a strangeness that is undeniable, as July's expression identifies the inalienable fact of each individual's remarkable eccentricity and the depth of their specificity. She does this by laying her heart and mind bare; the content of her work exposes facts that are oddly meaningful, amusingly trivial, and caustically shameful. All of which seem to denote the fact that we are not alone; there is something quietly courageous about Miranda July's expression, her work contains a vitality and specificity that is life affirming in its simple assertion of life's absurdity. The spirit of enthusiasm and benevolence that permeates her work is contagious and speaks to the greatest constructive capacity of art to connect us all on a human level.

3. Isabelle Huppert (Survival) - Isabelle Huppert herself has chosen this as the consistent theme of her work and I cannot say that I disagree at all. So rather than reinterpret the primary of emphasis of her work I will instead express my immense appreciation of Huppert's work as she is certainly among the foremost actresses in the history of cinema. Her performances express the difficult choices that face each of us as we rise from unconsciousness and face the day. She expresses her own human complexity and the complexity of the various dilemmas humans face with a poise and stoicism that are unmatched in cinema, and more admirably takes roles that most image conscious American actresses wouldn't touch with a thousand foot pole.                      The performances are void of the performative histrionics that have come to characterize American Acting as she assumes her role and bypasses the melodrama in pursuit of existential truth and insight into the human condition. She does this without judging the character or condescendingly moralizing to the audience; all with the tact and effortless style of the great French screen icons who preceded her and yet with an incisive edge and artistic signature all her own.

4. Greta Gerwig (Authenticity) - Greta Gerwig possesses various intangible elements that have endeared her to audiences across the globe, but most of all is her sense of self possession. Which is to say that she owns herself faults and all. She is a beautifully exuberant performer who exudes a sort of crude charisma that is absolutely contagious. And as she has evolved as an artist into a writer and a director she has proven herself to be equally as adept in these expanded roles; while continuing to deliver her signature comedic sensibility and sense of earnest determination that is all but lost in today's post modern landscape where grim pessimism and irony pervade every creative platform. Thankfully here is a performer whose very essence glimmers with a sense of optimism and gratitude; her expression as an actress has been an invaluable contribution to an increasingly bleak pop cultural landscape.

5. Venus Williams (Perseverance) - Venus Williams is probably a peculiar inclusion in the minds of most but as I've said before and I'll say again, athletics are physical and psychological artistry. There is the literal craftsmanship of the sport you choose to play that includes mastery of the precise fundamentals, there is the development of an art of war that is entirely individual to each athlete, there is the literary function of sport as a metaphor for our own lives, and there is the performative aspect of sport as human spectacle. All of these combined with Venus' indomitable spirit make her not only an exemplary athlete but an exemplary human being whose poise, tact, and class enabled her to transcend the obscurity of poverty and achieve international renown while amassing seven grand slam titles.

- Milan Robinson

Tuesday, May 1, 2018

CONTEMPORARY ART BY WOMEN ARTISTS


            CONTEMPORARY ART BY WOMEN ARTISTS


        Judy Chicago, The Dinner party 1974



Judy Chicago is an American feminist artist who always supported and stood up for the gender equality and rights.  The Dinner Party is a vital part of 1970's feminist art and a milestone in 20th-century's art. The Dinner Party includes a sizeable ceremonial banquet, arranged on a triangular table with a total of 39 plates settings, each plate mean essential women from history.  Also on the floor 999 more names displayed of those women. Throughout my learning experience in art and women class, I tend to notice different angle, shapes, and colors and put them invaluable perspective as they all illustrate deeper meaning hidden in these art pieces. The Dinner Party is formed in a triangle shape which to me seems like a representation of the women vagina. The plates were ceramic, and they were arranged in a very strategical way portraying past to present, as such from modernism to postmodernism. During my visit to the museum, I noticed that those plates were displaying different forms of a vagina. Apparently, in my understanding, the purpose of it was to show the world that women are not a sexual object they hold more value in society than just be seen as an object.



Image result for Yoko Ono, Cut Piece, 1964.
                                            Yoko Ono,Cut Piece,1964

Yoko Ono is a Japanese multimedia artist, singer, speaker, and peace activists who also is known for her work in performance art and filmmaking. Ono engage with her audience in a personal manner as she performed in front of the audience.  Ono made this performance as she wants to teach the audience that the equality of gender and race was important for society. The cut piece performance was how Ono sat alone on a stage, dressed in a suit, with scissors in front of her. She gave the scissors to the audience, and the audience started to cut her dress. Some of the people approached nicely by just cutting a small square of her elegant dress. However, others came boldly, snipping away the front of her blouse or the straps of her bra. Some attendance approached hesitantly, and other came boldly.  Ono uses the symbol of scissors to represent the equality of gender and race. Ono tried to describe the audience that doesn't treat women as an object because it's not the right way of handling women. She intended to shed light on the fact that women deserve to be treated in a respected manner.


Image result for Betye Saar The Liberation of Aunt Jemima 1972
Betye Saar The Liberation of Aunt Jemima 1972

Betye Saar is an American artist known for her work in the media association. Betye Saar challenges the dominance of male artist with the Liberation of Aunt Jemima 1972. This piece is a three-dimensional sculpture made from objects and in mixed media. Saar also includes a knick-knack she found of Aunt Jemima. The original Jemima was base on a pencil and brush. However, she decided to change the pen for a gun. The reason Saar did it was because she wants to take the attention of people. Lastly, the black women carry a white baby Saar put it as the representation of slave meaning how blacks were continuing to serve the white people. In short, The message behind the gun was the “black power”  and the equality of gender.
                                Adrian Piper, Cornered, 1988
Piper chose to make this letter video to protest against inequality towards race and power. In her video, she expresses her thoughts and opinions directly to the viewers. Piper is white but decides to fight for people of color.  She raised her voice about the matter of inequality amongst individuals who are labeled as different and treated differently based on their color. In brief, she feels that her racial identity is black as she wants to show the audience. She believes that color shouldn't matter it is the person who matters.
Image result for Barbara Kruger, It's All About Me, I Mean You, I Mean Me, 201

      Barbara Kruger, Its is all about me, I Mean You, I Mean Me,2010


Barbara Kruger is an American visionary artist and collagist. Most of her work is consist of black and white images. Kruger decided to portray the body of nude Kim Kardashian and overseas three concise statements. The overlaid text provide expression of female toughest freely. The first assertions “It is all about me” The following thought creates contradiction” I mean you.” It shows how the bold images and bright red color provides a voice through a female figure. Barbara's message was to protest against patriarchy man for the equality of gender and the free expression.










Work Cited
Chadwick, Whitney. Women, Art, and Society. 4th ed. New York, N.Y.: Thames and Hudson, 1990. Print.
The Guerrilla Girls' Bedside Companion to the History of Western Art. New York: Penguin, 1998. Print.