Category: Artists

Introduction

Living as a non- English speaking artist in an English speaking country is a fascinating challenge and an advantage to a nation since aliens in a country are play pivotal role in promoting cultural activities as well as innovation. Empirical and past comparative studies indicate that in the history of civilization and human culture, aliens in any given country have always been known as one major source of social vibrancy since they share local traditions with the local people alongside passing their own cultural values to the local population.

In cases such aliens are quite intimate with the local population. Then it is indefinite that a lot of unprecedented cultural exchange will indeed take place leading to a positive outcome. Brandellero indicates that due to the uniqueness of strangers or immigrants, local milieus dealing with production have developed keen interest of attracting and retaining them for purposes of enhancing growth and sustaining their economies (10).

As this paper analyses, artists are important personalities in any cultural economy bearing in mind that they act as forerunners in harnessing and generating capabilities through their own artistic works. By so doing, they directly contribute towards economic growth of the respective countries they are living in. It is also against this scope that this paper explores non-English speaking artists living in English speaking countries, their impact on the economy and some of the challenges facing them.

Understanding cultural and ethnic diversity

In her publication, Brandellero argues that cultural diversity and its link to the status of an outsider is a factor that creates tension, but has a positive effect towards innovative potential (11). While cultural diversity has myriad of similarities to ethnic diversity, it is prudent to mention that the former is a key driver and a potential source of innovation, creativity and building positive relationships. The latter are essential in enhancing mutual competitiveness.

In their cultural theory, Schwartz and Thompson elaborate that a new entrant into a foreign country may act as an intersection between the local community and outside world largely due to multiple ethnic and spatial ties. To emphasize on this, it is worth noting that contemporary immigrants, English or non-English speakers, are contributing immensely in strengthening of advanced urban economies by enhancing competitive advantages.

Effective understanding of cultural and ethnic differences have become some of the most fundamental requirements which businesses and immigrant artists need today since it assists them in building relationships by fostering understanding of the cultural values of members of different cultures alongside interpreting of their behaviors and actions.

The efficient performance of a non-English speaking artist as well as his or her participation in the growth of the economy of a host English speaking nation is to a larger extent, influenced by cultural differences experienced through complex interaction between the environment and individuals. Brandellero makes a significant contribution related to this argument by pointing out that an understanding of cultural diversity and ethnicity easily affect the degree of satisfaction, motivation results and behavior of individuals (35).

His argument concurs with Hofstedes model and networking theory that demonstrate how cultural differences impact on the dimensions of an organization in terms of networking, gaining social capital, relationship marketing and development of human resource (Brandellero 54). Additionally, the differences also directly impact on intra organizational communication, problem-solving capabilities and creativity levels.

An artist who is living in the contemporary cultural economy has a greater advantage since the modern global economy has emerged as a thriving market offering colossal employment opportunities in many cities and countries globally.

Brandellero posits that the cultural economy offer potential support for artists of all nation whether English speaking or non- English speaking, and massive opportunities to generate artistic capabilities for productive purposes (20). This is made possible by the spatial manifestations created by the cultural economy, which play a pivotal role of attracting substantial and significant attention, which is an important playing field in the revolution of culture in a new economy.

Living as a non-English speaking artist

Living as a non-English artist in another country as opposed to ones own native land is a major challenge brought about by the diverse changes that are mainly structural, of global proportion and that continuously alter and impact on experiences. Research studies clearly indicate that living and working in a foreign country may affect a workers private realms and social life due to issues such as industrial capitalism and rational forms.

Scholars on modern sociology point out that a lot of transformations involving cultural, political, economic and social processes happen differently in diverse nations and result in the emergence, development and flourishing of new structures of social life that may affect an immigrant worker.

Brandellero argues that non-English speakers migrating to other English speaking nations in order to work ought to understand the culture of the country they are going to live in bearing in mind that this will shape how they relate with the locals and enhance their business performance (14).

Needless to say, cultural understanding in a foreign land is of great essence if an artist is to reap the optimum benefits out of his or her artistic work. It is also prudent to underscore the fact that should cultural differences between artists and locals clash at any given point, then the expected benefits either to the artist or host country will be null and void.

Importance of effective understanding of cultural differences by non-English speaking artists

National culture is a phenomenon that distinguishes one group from another. Therefore, different nations have unique cultures that affect or largely determine how they run their affairs. A country may express its culture through conceptual elements such as arts, rituals or beliefs. For non-English speaking artists living in English speaking countries, it is definite that they indeed encounter myriad of challenges brought about by national culture.

Besides, when employed, they serve, co-work and interact with workers and customers from different cultural backgrounds who manifest various gender, ethnic, regional and national beliefs. This calls for an effective understanding of the local or national culture of a host nation and development of coping strategies in order to be productive. Most importantly, the barrier posed by language differences may not be eluded in most cases since an artist may not be a multilingual speaker.

According to Brandellero, for individuals or companies to perform successful business ventures in countries different from their own, they must have an effective understanding of different cultures (12). Besides, they must apply knowledge in management as tactics which are important for success.

It is imperative to mention that non-English speaking artists have to be flexible and keep changing their strategies to meet the needs and challenges a new cultural environment presents. Those intending to innovate or invest in the cultural economy must incorporate knowledge in management with the strategies they have devised. With globalization taking rapidly taking effect, these artists must come up with ways to overcome organizational and national cultures and the diverse challenges posed by the same.

Using Hofstedes model, it is important to note that special cultures of diverse nations are based on different independent dimensions that include short term or long term orientation, uncertainty avoidance, masculinity or femininity, individualism or collectivism and power distance (Brandellero 62).

Understanding of the different independent dimensions will greatly assist a non-English speaking artist to predict how societies or nations that host them culturally operate. It is imperative to note that the culture of a given society is the sum of its assumptions, beliefs and values.

The man-made part of the culture of a society is influenced by the perceptions individuals have of their social environment. As such, a prescribed behavior of a particular society is shaped by those shared perceptions (Brandellero 43). An artist may not be able to directly observe culture, but can easily infer it from verbal exchanges and daily societal activities.

Knowledge of different cultures enhances networking

According to Pettigrew Whipps model of dimensions of change, effective understanding of different cultures assists business owner to develop their social networking behaviors (Brandellero 18). This argument clearly indicates that a non-English speaking artist who intends to succeed in his or her operations in an English speaking host country must possess or develop positive patterns of behavior necessary for social networking.

Indeed, many businesses today are operated with an intention of growth and maximization of profits. Positive networking behaviors should be enhanced by the non-English speaking artists as will not only aid them to effectively understand the cultures of the environment they are situated and build good relationship, but will also assist them to acquire scarce resources for business growth.

The effective understanding of factors such as masculinity and femininity cultures in a host country will enhance a positive networking behavior that will improve an artists relationship with the different cultures and aid it in obtaining external resources necessary to drive up arts business (Brandellero 19).

Brandellero supports the above notion and points out that effective understanding of different ethnic cultures of a host nation is a means of success for business owners who have developed networking skills (35). In fact, it is a common denominator underlying a business agenda and is suitable for establishing a higher networking behavior.

Mourkogiannis contributes to Brandelleros argument by indicating in his moral purpose model that entrepreneurs, and in this case non-English speaking artists, should effectively and efficiently include social spheres in expanding their networks with a bid to develop a competitive advantage in a host nation (Brandellero 20). An artist can achieve this by raising his or her social status via vertical social mobility and learning the local language.

Additionally, studies have indicated that effective understanding of different cultures by a business creates for it a dyadic and interconnected relationship that has diverse ties such as influence, exchange and information. It is imperative to note that the aforementioned ties are part of a business assets that legitimizes the business, enables it to access resources and provides it with information.

In agreement, different scholars have used interactive perspective to link cultural and economic resources to economic opportunity structure in analyzing the effectiveness of businesses understanding diverse cultures. According to them different ethnic groups, depending on the structure of economic opportunities, brings income to a business.

From an interactive perspective, Brandellero points out that effective understanding of cultures helps in distribution of resources through built relationships (42).

Different societies vary in terms of status, power and class. As such a non-English speaking artist in an English speaking host country will be supplied with capital from ethnic networks depending on social relationships and ties built on social obligation and trust. It is imperative to note that customer relationship and ties with a business depend on a cultural enclave the business is in.

Knowledge of culture and relationship marketing

According to neoclassical microeconomic theory, relationship marketing is an important marketing activity that businesses having their operations in different countries carry out for successful establishment and sustenance of relational exchanges (Brandellero 32). An artist in a foreign nation can create a long-term relationship between his business and individuals or groups within a particular host culture in a relational market.

Neoclassical microeconomic theory presents a transactional school of thought that indicates that effective understanding of different cultures by a business will assists it in developing relational exchanges with the locals.

Consequently, this will aid it in the maximization of profits if it is found in a competitive market. Additionally, an artist living in an English speaking host country can develop exchanges with the locals and demonstrate rational behavior that shows a deep understanding of diverse cultures. Consequently, this will cause an artist to fashion his or her products to meet the cultural demands of the host country thereby making the artist to become a utility maximizer and a price taker.

Statistical literature revealing imbalance in art and theater

Past statistical research evidences have indicated that receive neglect in some countries. For instance, a report carried out in the nineties indicated that the Australian media failed to show a reflection of the diversity of the Australian people. Advertisement pictures and other programs conspicuously made exclusions to cultures that are not English speaking while portrayals in comedy only showed stereotypical images of the non-English speaking people.

Current statistics on non-English speaking representation in the media have shown estimations that slightly less than two percent of roles in the acting industry, especially in regards to mainstream drama in television, were directly played by other ethnic communities of Australia and the aboriginals (Bertone, Keating & Mullaly 30), an indication that the level of participation of first-generation Australians of the non-English speaking cultures is extremely low.

This indicates that there is only a small amount of cultural recognition of the non-English speaking Australians in the acting industry. Such low levels of recognition show that either the acting industry is ignorant of the non-English speaking Australians or simply their willingness in participation is relatively low.

Further reports indicated that in any given drama shown on the mainstream Australian televisions, out of the two percent non-English speaking actors, thirty-five percent were Australians while the rest were a collection of all other cultures that are not English speaking. Such figures have been continually used in debates regarding the participation of such low numbers. Authors have argued that such figures represent a pitifully low when put into comparison with the more than one-third of the Australian origin.

More arguments have indicated that portrayal of numbers in the media industry is a very vital indicator of commitment and participation in arts. In cultural societies with many cultures, it is obvious that there are also talented individuals in all cultures. They are thus expected to perform specific duties as their talents dictate.

In examination of the Australian culture, such low numbers of representation of other cultures in the theatre industry raise serious concerns about consideration of other cultures in Australian theatre. Being a non-English speaking artist in such a country stands a limited chance of penetration in the theatre industry given the low figures shown in previous reports.

Other measuring dimensions

Bertone, Keating & Mullaly (30) argue that it is not impossible to take measurements in regards to non-English speaking cultures, especially the first and the second generations, participation in the arts industry. They posit that ABS conducts census with details of birthplace, employment and occupation.

But there is omission of such cultures such as the Aborigines. With this consideration, they continue to argue that a report published in the mid-nineties, indicated that there were only ninety-five actors of the first generation out of the total 1506. This represented a mere six percent of the total actors in the acting industry, indicating a slight percentage of first-generation participation of non-English speakers.

These figures, they argue, represent only small fraction of numbers of what would be expected in the theatre industry. The second generation, with one Australian parent composed of eleven percent. The English speaking of Australian origin comprised of more than sixty-four percent of the total actors in theatre while those from English speaking countries comprised of the remaining eight percent. This still shows that consideration of non-English speaking people in Australian theatre industry was still low as reflected in numbers.

The use of numbers has been greatly disputed as a general concept of determination of participation of non-English speaking people in the Australian theatre and thus new modes have been developed. Consideration of demographics and economic realities of those involved in the theatre industry has been adopted as a new approach to determination of participation. By consideration of demographics, another report published showed great diversities in regional representations.

The report published by ASB showed that participation of people from outside Australia comprised of only thirteen percent of the total workforce. Out of these, approximately six percent are from Europe and the USSR. Approximately five percent are from South East, North East and Southern Asia regions.

The Oceania region is represented by only a fraction slightly less than one percent. Africa closes as the last in representation with only zero point five percent in the theatre industry. This is a clear indication that regions of origin play a role in determination of participation in the theatre industry (Bertone, Keating & Mullaly 38).

Implications

Such statistical evidences provided above have not been directly explained. The cause of the presence of such statistical evidence is yet to be determined. But with surety, there seemed no suggestion or presence of literature that lack of interest in the non-English speaking population was the major cause of such low numbers in theatre participation. There is an attributed presence of attitudes and barriers resulting from the involved institutes.

According to new evidences acquired by the ESB, there is a strong consideration of the view that opportunities available for non-English speaking Australians of the first generation were relative few compared to English speaking ones. This view, coupled with the previous fact of causal indicates that the non-English speaking people are marginalized in the Australian theatre.

Given that they have not failed to show interest in theatre and acting, explanation of such numbers raise serious concerns. Determination of real cause of presence in theatre industry is yet to be achieved.

Such under-representations may be considered invisible within public domain. Since research has revealed that there is a problem with cultural representations, alternation of the situation has failed to commence. Consequently, there has been automatic misrepresentation as multicultural societies are concerned.

This misrepresentation is sending a wrong signal of exclusion to the world with an indication of non-belongingness in the mainstream theatre industry. This thus implies that non- English speaking people are considered stereotypes and thus considered suitable for low and more casual positions such as Taxi driver, cook and Greengrocer (Bertone, Keating & Mullaly 76).

Problem of funding

It has also been noted that non-English speaking people undergo problems of funding in areas they participate, especially in regards to art. Bertone, Keating and Mullaly (78) continue to posit that the Non-English speaking in Australia, especially the first generation seem to dominate in areas which are less funded in theatre than areas with well-funded programs.

These areas include youth theatre groups, ethno-specific companies and theatres that are considered to be communal (Bertone, Keating & Mullaly 76). As a matter of fact, funding would be much appreciated, especially in line with acquiring necessary knowledge needed either to fund their investments or acquire higher levels of education to support their works of art.

These areas are not fully commercial and their contents are not of great influence in the media as mainstream contents are. As a result, they do not receive much attention from across English speaking Australians and are thus considered less competitive; hence the presence of a majority of non-English speaking groups. Due to this kind of attraction, there seems to be shunning from mainstream in regard to ethno-specific groups in Australia. As such, no commercial attachment is given.

On the proportionality of funding, there seems to be a disproportional approach to the situation. As revealed from interviews, literature and available evidence from statistics, there is great bias in theatre and art funding from sponsoring bodies. Although there are steps that have been taken to contain the situation, the disparities have not been eliminated.

With the creation of funding workshops and organization of church bodies to sponsor art in Australia, equal funding has not yet been achieved. The national State government has also shown concern to lack of funding in multicultural art. As a result, it has shown great devotion by commitment through a creation of a funding program aimed at funding multicultural art in Australia (Bertone, Keating & Mullaly 58).

Despite these efforts, mainstream related theatrical organizations continue to dominate attraction of funding from willing bodies (Bertone, Keating & Mullaly 62). This has been associated with related profits and achieved from productions related to mainstream. Sponsors have thus put more in mainstream with a view to regain or sell their image to the public. Project-related events have increasingly dominated the mainstream art industry due to organizational perspective.

Barriers to multicultural art

In most countries with multicultural practices, there is always the problem of balance. In Australia, there seems to be a problem as regards this balance of English speaking and non-English speaking due to several barriers. To begin with, the domination of English cultures and traditions continue to alienate content related to non-English speaking cultures.

Secondly, there is an observed lack of willingness as far as theatrical art is concerned. Attribution of class boundaries has locked out interest of multicultural participation in art. For instance, non-English speaking people are considered working class and thus thought as unsuitable for creation of artistic content suitable for mainstream art industry in Australia (Bertone, Keating & Mullaly 35).

Thirdly, there are discrimination related implications in auditioning processes whereby individuals are given content in a complex language. During funding applications, there is a problem with the application process whereby there is need for clarification of nationality and whether one is English speaking or not. These are aimed at eliminating non-English speakers from English speakers as theatre and art are concerned.

Other problems such as market size and unobservable risk-taking in the industry for non-English speaking additionally added to the problem of limited numbers of non-English speakers in art and theatre. Conservatism has also been identified as one of the leading problems due to the fact that theatre audiences have been thought to be conservative and thus unlikely to accept new content, different from original English.

Philosophical perspectives

There have been diverse views in regards to the multicultural imbalance in art as depicted in Australia. Many philosophers have argued under the perspectives of social just, indicating humanistic approach to the situation. They claim that recognition of different cultures is imperative in a multicultural society.

This creates a society that embraces diversity and respect for all human beings. They have however noted that, success in this regard needs careful planning and production of competent content (Bertone, Keating & Mullaly 50).

From the dimension of laizze fair, arguments such as industrial self-regulation of art and theatre industry should prevail without integration or intervention of external bodies. In either case, there has been proposition of recognition of multicultural practices in a society that has minority cultures that accept majority culture content.

Conclusion

It is evident from the discussion that there is marginalization of non-English speakers as artists in English speaking nations, for example, as apparent in Australia. Of great concern are those who do not understand English language for purposes of understanding the local culture. Although the claims have been arrived at from statistical approach, demographical and economic approaches have also shown correlation to supportive evidences.

The obvious disparities have been attributed to several problems faced in art and theatre industry such as problems of funding, lack of will, discrimination and conservatism. Light from philosophical perspectives have raised attention to the situation. As argued from a social justice dimension, recognition of multicultural environment is important in fostering national unity and achievement of human respect.

In most cases, the challenge posed by traditional and cultural balance has been noted as a growing challenge that needs to be addressed for the sake of assisting artists who may be disadvantage by language barrier. As already mentioned, artists who are non-English speakers may be alienated by the dominant English cultures and works of art that may be dominant compare to those of non-English speakers.

Although both art contents may be relatively similar, it is definite that non-English speakers who practice various works of art may be largely disadvantaged in one way or another. In terms of theatrical art, there seems to be lack of cultural willingness seems to be dominant in most English speaking nations bearing in mind that cultural differences may pose real challenges to non-English speakers. On a final note, it is prudent to mention that societies differ a lot in terms of class, power and class.

While these variations may be welcome in terms of diversity in generating resources both for native and non-English speakers, it is prudent to mention that ethnic differences may adversely play a negative role in alienating non-English speakers. Various factors play unique roles but of great importance are the role played by language in promoting cultural harmony.

From the philosophical point of view, industrial self-regulation of both art and theatre industry ought to take place with proper regulation of the industry by relevant bodies. There are doubts that regulation of artistic works may no be balanced or uniform across the board. As a matter of fact, those who may suffer in this situation are the aliens who are non-English speakers. It is indeed necessary to recognize multicultural practices among different artists from various backgrounds.

Works Cited

Bertone, Santina, Keating, Clare & Mullaly, Jenny. The Taxi driver, the Cook and the Greengrocer: The representation of non-English speaking background people in theatre, film and television. Melbourne: The Australia Council, 2006. Print.

Brandellero, Amanda. Crossing cultural borders? Migrants and ethnic diversity in the cultural industries. London: European Cultural Foundations, 2007. Print.

Introduction

Technological advances of the past centuries have benefited humanity in numerous ways, yet, most significantly, in terms of relieving the workload and facilitating the operations of different professions. As predicted by Marx, the growing productivity of labor would result in the expansion of disposable time, which, according to him, constituted the absolute wealth of every nation (Hughes and Southern, 2019).

Nevertheless, even though the forecast of the German philosopher has been proved mostly correct, the question of how people choose to spend their free time remains topical. It can be suggested that the new technologies allowed people to free themselves from toil, but simultaneously, they started to consume more of their valuable time. Social media platforms are one the examples of disruptive technologies which were created to help people make their lives easier but eventually started to harm them. According to research, long periods spent online can lead to a decrease in sleep quality, poor body image, and low self-esteem (Kelly et al., 2018).

French philosopher Baudrillard (1993) believed that virtual technologies removed problems from peoples lives but at the same time made them lose their identity and desire to engage in intellectual work. This essay will discuss how modern digital media artists challenge and promote the idea of Baudrillard and it will examine their projects dedicated to the topics of social inequality and mass consumption.

An Analysis of Reflect By Nikkolas Smith

Due to the recent developments in the US and other western nations, more people have become aware of the systemic oppression and racism black people experience in these countries. The death of George Floyd became a turning point for millions of people to start demanding social and racial equality from their governments. This situation motivated and inspired many digital artists to create works that would highlight the issues existing in society and subsequently would help draw the attention of even larger audiences to them. Nikkolas Smith is one of the most popular digital artists today and is not afraid of being vocal about social inequality inherent in the US.

This African American illustrator has a sizeable social media following, including more than two hundred thousand subscribers on Instagram. Additionally, he worked with renowned film industry names such as Pixar, participated in several exhibitions, held workshops, and authored three books. Activism plays a major role in his art, and many of his works underscore problems such as police brutality targeted against minorities as well as promote social causes, for example, the Black Lives Matter movement.

Nikkolas Smith has created many works dedicated to the problem of social inequality, yet the digital painting titled Reflect is certainly one of the most popular ones at this moment. The image depicts a black woman who took a stand on one knee in front of a row of police officers. The woman raised her left hand, holding a mirror which is positioned at the head level of the police. From looking at the image, the context of the situation becomes clear. Namely, Smith wanted to demonstrate to his audience a scene from one of the Black Lives Matter protests, which occurred in great numbers in the US in the Summer of 2020.

The image conveys a powerful message by juxtaposing an unarmed and defenseless woman proudly with a line of officers dressed in combat armor whom she opposes. This artwork is summoned to stress the peaceful nature of the protests and to show the inadequate response on the part of the authorities. The mirror raised by the woman is an element that has a special function in the overall composition of the image. It works as a metaphor suggesting police officers reflect on the questions of why they try to stop a peaceful protest and what they protect.

The artwork by Smith is one of the examples of digital art, which directly challenges the notions outlined by Baudrillard. Yet, before establishing how Smiths work proves the philosophers ideas wrong, Baudrillards main argument has to be clearly stated. Essentially, the French author writes that technological progress has enabled people to escape all of their problems and stop reflecting on crucial issues such as liberty. Ultimately, this extreme dependence on technology has led people to abandon their unique personalities and become the same (Baudrillard, 1993, p. 58).

In other words, individuals no longer play clearly-defined roles in society and refuse to associate themselves with any responsibility, choosing to live a comfortable but meaningless life. Smiths work cannot be used as evidence in support of Baudrillards point of view since it explores and promotes ideas that refute the philosophers notions. Whereas Baudrillard describes modern people as passive and over-reliant on technology, Smith shows them as decisive and willing to vocally address inequalities. The American illustrator conveys a message through this digital piece of art which claims that protestors openly speak truth to power.

Moreover, the Black Lives Matter movement stems from the reflection on the topics of liberty, justice, and social equality. Protests are the result of the authorities lack of initiative in resolving the systemic inequalities faced by African Americans and attempts of certain individuals to falsely claim that liberty for everyone has been already secured (Sumerau and Grollman, 2018). Smith did not avoid making political art; he intentionally engaged in activism and, as thousands of likes on his post with the Reflect image show, he received approval from his audience.

It demonstrates the fact that modern people, despite possessing technology that can help them escape real-life problems, continue to participate in the political process of their country. Such proactive behavior on the part of citizens leads to a demand for art that would amplify their message but in a different form. The major technological element here is social media which serves as a platform where people can exchange their opinions, find relevant information, and coordinate their actions. Smith uses his Instagram account as his gallery where he exhibits his artworks to attract the attention of people to the issues he raises with his images.

The digital artist is successful, and it is visible how his works are positively viewed by his audience. It reflects the widespread support for the Black Lives Matter movement, which has been on the rise for the past several years (Sawyer and Gampa, 2018). Additionally, Smiths works possess other qualities, such as the ability to evoke feelings of the people who look at them. According to the artist himself, he tries to create art that puts people in the shoes of someone they may not agree with (Shemtov, 2021).

The Reflect is a perfect example of this idea. Despite the protests popularity, there is still a portion of people who do not approve of them. Reflect grants these people a chance to project the experience of a woman defending her rights onto themselves and thus gain an understanding of the Black Lives Matter movements ideology and motivations. Turning back to Baudrillards argument, Reflect put on public display on Instagram allows white people who have a privilege in society to envision themselves in position the of subjects of oppression. This outlook challenges Baudrillards view since technology here acts as a facilitator for reflection on the topic of social inequality, a deeply philosophical notion.

An Analysis of Gotta Catch Em All by Steve Cutts

Yet, there are also artists whose works capture the essence of Baudrillards argument and convey similar messages by highlighting the vices of modern society. Mass consumption, or, in other words, consumerism, has a significant negative impact on peoples lives and the environment. Technological progress has worsened the situation by generating millions of tons of highly-toxic electronic waste and emitting CO2 in large volumes, ultimately contributing to and accelerating climate change (Lewis, 2017). Yet, the environmental effect of mass consumption driven by technological advances is not the only major factor that needs to be addressed. Additionally, the widespread adoption of cheap communication devices such as mobile phones caused people to develop an addiction to them and their social media news feed.

Steve Cutts, a British digital illustrator, has made it his mission to emphasize the effects of mass consumption coupled with the availability of technologies on humanity in a satirical manner. His artwork Gotta Catch Em All demonstrates the harsh reality of todays societies and the extreme desire of their members to escape their problems by immersing themselves in a virtual world. The image depicts several people marching in line and falling off a cliff while focused on playing their favorite mobile game. The particular game in question is Pokemon Go, an app that utilizes a relatively new technology of augmented reality.

There is also one of the main protagonists of the game, Pikachu, who, in the image, invites the people to the abyss. This artwork is extremely metaphorical and conveys a multitude of messages, as well as meanings. Yet, the major problem covered by Cutts here is peoples inability to resist their temptation to consume content and entertainment, which has reached a pinnacle of absurdity in the form of video game addiction.

Moreover, whereas past generations were obsessed with buying kitchen utensils and other tangible products, the cravings of modern people do not exist in the actual reality and are non-physical. Essentially, with this artwork, Cutts illustrates the claims made by Baudrillard by painting the very people described by the philosopher. These individuals are the same since they do not have any qualities which would distinguish them from others.

The line in which they march also symbolizes their lack of perspective and shows that they are narrow-minded and unable to choose their way in life. Instead, they are driven by simple incentives provided to them by the game, which tells these individuals where they should go to score more points. These peoples absence of any conscious direction and the desire to avoid real-life ultimately leads them into the abyss of even stronger gaming addiction. It is possible to assume that here Cutts adds another point to Baudrillards argument. Namely, whereas the French philosopher states that technologies allow people to escape their problems, the artist contends that technologies ultimately lead to even worse outcomes for them.

Mass consumption depicted by Cutts is highlighted by the phenomenon of sameness of the individuals who cannot function without technology described by Baudrillard. As noted by Filip (2020, p. 119), mass consumption is destructive to the free development of individual thoughts. This means that people who engage in consumerism become ultimately shaped by the products they buy and use. Products intended for mass consumption have the task of becoming the object of desire for consumers to stimulate further sales. Technological progress amplified this process which is perfectly demonstrated by mobile games and the addiction they cause in users.

Studies dedicated to the topic of the effects of mobile gaming on mental health indicate that addiction to this kind of entertainment consistently entails social anxiety, loneliness, and depression (Wang, Sheng, and Wang, 2019). Essentially, Cutts draws the attention of his audience to this problem through his art and invites people to reflect on their relationship with gaming addiction or general over-reliance on their devices. He portrays the consequences a person faces when they become too involved in the consumption of mobile entertainment.

Mass consumption driven by technology rests on the idea that the consumer is constantly provided with new coveted objects which they can attain by paying their money for them. Baudrillard (1996) explained this process by saying that in the modern era, goods are no longer meant to be owned but produced and bought. Yet, this perpetual cycle of consumption does not have any ultimate objective, apart from the necessity to constantly accrue new objects. In the realm of mobile games, users pursue rare objects and earn points that are essentially meaningless but can stimulate players desire to achieve new heights.

This removes a person from the actual reality and their environment, relieving the pressure of personal and social surrounding them. As Baudrillard noted, technology does not require a person to employ and develop their intelligence since artificial mechanisms erase the necessity to do so. Yet, an individual who spends a substantial period engaging in the consumption of mobile entertainment further alienates themselves from their real life. As a result, they fall into the abyss of sameness and experience severe consequences.

Conclusion

In concluding, according to Baudrillard, technologies allow people to escape their problems but ultimately negatively impact their personality and intelligence. This notion is often explored in art by contemporary digital artists who both support this claim and provide evidence against it. The image Reflect by Nikkolas Smith, an American illustrator, confronts Baudrillards notion that technologies discourage intellectual work and encourage following the same thought patterns.

By using social media as his platform, Smith exhibits his work to draw attention to the problems of social inequality and systemic oppression of African Americans in the US. His work allows the audience to see a different perspective and stimulates them to reflect on the topics of liberty and equality. On the other hand, Steve Cutts, a British digital illustrator, in his work Gotta Catch Em All, conveys a message similar to the one promoted by Baudrillard. Essentially, he contends that the modern mass consumption amplified by technological progress has negatively impacted people and their lives. Addiction to the consumption of virtual entertainment allows people to escape their problems but eventually leads to the erosion of their unique personalities.

Reference List

Baudrillard, J. (1993) The transparency of evil. New York: Verso.

Baudrillard, J. (1996) The System of objects. New York: Verso.

Filip, B. (2020) The rise of mass consumption: when irrationality is considered rational. London: Palgrave.

Hughes, C. and Southern, A. (2000) The world of work and the crisis of capitalism: Marx and the Fourth Industrial Revolution, Journal of Classical Sociology, 19(1), pp.5971. Web.

Kelly, Y., Zilanawala, A., Booker, C. and Sackera, A. (2018) Social media use and adolescent mental health: findings from the UK millennium cohort study, EClinical Medicine, 6, pp.5968. Web.

Lewis, J. (2017) Digital desires: mediated consumerism and climate crisis, in Brevini, B. and Murdock, G. (eds.) Carbon capitalism and communication. London: Palgrave, pp. 5769.

Sawyer, J. and Gampa, A. (2018) Implicit and explicit racial attitudes changed during Black Lives Matter, Personality and Social Psychology Bulletin, 44(7), pp.10391059. Web.

Shemtov, E. (2020) Nikkolas Smith: activism and the images that bind us. T Art Magazine, 2

Sumerau, J. E. and Grollman, E. A. (2018) Obscuring oppression: racism, cissexism, and the persistence of social inequality, Sociology of Race and Ethnicity, 4(3), pp.322337. Web.

Wang, J. L., Sheng, J. R., and Wang, H. Z. (2019) The association between mobile game addiction and depression, social anxiety, and loneliness, Frontiers in Public Health, 7, pp.16. Web.

There are so many writers and artists, who share their talents and ideas with other people and help to comprehend this life better and properly. The role of an artist is not that easy indeed: so many things have to be taken into consideration, and so many facts should be used in order to make a work really significant.

Anna Deavere Smith is one of those artists, who not only analyze current situations and criticize someone, but also clearly define own functions and abilities. Such approach to work makes her worthy of this world and interesting to her readers. In her Introduction to Twilight: Los Angeles, 1992, she introduces her work, identifies the purposes of this writing, and also speculates upon her own role as an artist in this world.

In comparison to one literary character, Tod Hackett from The Day of the Locust by Nathanael West, Anna Deavere Smith does not want to lose her mind and be guided by the current events; she is ready to prove her points of view and do everything possible to achieve her purposes and be interesting for her readers.

In order to create Twilight: Los Angeles, 1992, Anna Deavere Smith conducted more than 170 interviews and presented captivating facts about the unrest, which happened in Los Angeles during the April, 1992. In the introductory part of the work, the author admits that Theater can mirror society. But in order to do so theater must embrace diversity. (Smith, xviii) This is why in order to become a sophisticated writer, it is crucially important to be original and use own potential to its full extend.

Anna Deavere Smith makes a wonderful attempt to present what her work will be all about, and her explanation helps to create more or less concrete picture about her attitudes to work and her preferences. Basing my scripts entirely on this interview material, I perform the interviews on stage using their own words. (Smith, xvii) So, the reader gets a clear understanding that Smith is not going to describe or portray something.

She concentrates more on performance but not on describing and using her own ideas. It is not a sign that she is not able to create something own. This approach to the work underlines another point  she is mature enough to combine the ideas of absolutely different people, present a valuable source of information, and amaze the reader. To my mind, her attention to the details and the ways information is presented say a lot about her professionalism and writing abilities.

What is most influences my decisions about what to include is how an interview text works as physical, audible, performable vehicle. Words are not an end in themselves. They are means to evoking the character of the person who spoke them. every person that I include in the book, and who I perform, has a presence that is much more important than the information they give. (Smith, xxviii-xxiv)

She does care about the reader and tries to take into consideration various points of view. Anna Deavere Smith values her role as an artist as a very significant point, because it is important to be able to speak and consider other standpoints and introduce these flows of ideas to people, who are interested.

Smith considers herself as an observe and should follow certain traditions and style, but still, she is ready to prove, reader to show, and ready to share her abilities with the other in the sphere she likes most of all. In comparison to Anna Deavere Smith, Tod Hackett is considered to be a bit weak person, who does not want to use all his potential in order to achieve the desirable purpose.

This is why Anna Smith and Tod are two antonymic characters in literature, who comprehend the role of an artist in absolutely different ways and, at the same time, provide the reader with an opportunity to analyze art and literature from different perspectives. Tod Hackett is not a writer, but painter.

He comes to Hollywood in order to create, but has to work as an illustrator in one studio. Despite of his appearance, he was really a very complicated young man with a whole set of personalities, one inside the other like a nest of Chinese boxes. (West, 2) Tods consciousness is not that easy to comprehend, and his ideas turn out to be rather captivating for the reader.

In The Day of the Locust, Tod Hackett evaluates his role as an artist not that significant. He is suppressed with violence, inherent to Hollywood of the 1930s, he cannot concentrate on his personal desires and interests, and all his searching to become a successful painter are frustrating because of mutual degradation and commodification of romance and human beauty.

Violence and sexual attraction  this is what turns out to be crucially important for people. Tod defines his work to represent this angry and sad people, who are going to destroy the city they live in.

Physical discontent and power are combined within one and the same person. He is not ready to getting any power and controlling it, this is why his attitude to his place and role in this world as an artist is not that significant as Anna Deavere Smiths is.

Evaluation of art and literature is one of the most difficult and interesting things for any writer. To my mind, art and literature are the things, which make this world better and safer.

With the help of various pieces of art, people get more opportunities to learn on someones mistakes and improve own life; to concentrate on some details and use such awareness in life; to find different ways to demonstrate feelings and be able to forgive.

I value literature and art because it provides me with a good choice to know more and even teaches me how to share my own feelings and abilities with the others. People should have a chance to be educated, and literature and art are one of the possible means to get education.

Without any doubts, the role of an artist is really great. In order to become a successful writer or painter, it is crucially important to evaluate the world and people around, take into consideration personal abilities and preferences, and be ready to prove own positions and points of view. Anna Deavere Smith presents a wonderful story, in the introduction of which, she values literature and her role in it, choosing different approaches, not inherent to all writers.

Tom Hackett, a character of The Day of the Locust, demonstrates another attitude to the role of an artist and proves that sometimes people may be changed by circumstances and do not find the necessary way out. Literature is something, the reader can learn from. Art helps us to concentrate on details and enjoy from any piece of this life. This is why it is very important to value literature and art and do anything possible to develop and improve it.

Works Cited

Smith, Anna, D. Twilight: Los Angeles, 1992. Anchor, 1994.

West, Nathanael. The Day of the Locust. Buccaneer Books, 1981.

Introduction

Some fundamentals on the picture

The picture I would like to analyze is called The Battle. It belongs to an abstract art. The most interesting point, however, which may surprise many people, is that The Battle was created not by a well-known artist as most of people think, but by a psychotherapist from New York. Tracy Morgan is the author of the work of art.

Body

The Battle and its technical characteristics

The colors and their significance

While discussing the importance of the picture, some technical details must be analyzed. First of all, it is necessary to point out that The Battle is considered to be a two-dimensional picture. The basic colors of the production are pink and black.

Taking into account the fact that colors have specific meanings, one can probably conclude that the author is aware of symbolism. As far as pink has an individual significance, one can state that the author chose it to evoke strong mental images. On the other hand, one is to keep in mind the relationship between certain colors, as color schemes determine the authors general purpose.

The composition of the painting

The composition of the picture seems to be of a particular importance, as numerous elements of the painting, including texture, forms, lines, etc. show the depth or perspective of the authors work. It must be noted that lines in the picture lead into the painting, what is extremely important to keep viewers attention on the production, but not off the painting. Pink and black are combined in such a way, to show they appear more distinct.

It is difficult to say for sure whether there are large light areas are combined with small dark ones, or large dark areas balanced with small light ones. Visually, it seems that the area of black is smaller; so, the chroma seems to be stronger. In other words, one can probably state that the author relied on one of the basic principles of the joint effects of chroma, as for colors of different value, subjects preferred a narrow band of either the light or the dark color, avoiding equally sized areas of different values (Visual Preferences, n. d., para. 16).

Furthermore, while pink can be regarded as a dominant color, the picture seems to cause positive feelings. Black, in its turn, determines the symbolical meaning of Morgans work. Thus, in my opinion, the picture reflects the fight between good and evil; the theme is considered to be not new, but topical at all times.

Tracy Morgans main aim

The focal points of the piece of art reflect black inscribed circles. This aspect should be carefully analyzed, as through the inscribed elements the author depicted the vortex of events. Taking into account the fact that color consistency of Tracy Morgans painting is heterogeneous, but invisible, one can conclude that the authors main aim was to create aesthetically pleasing work.

Conclusion


As far as the painting involves numerous tints, one can suppose that Morgan wanted to show the fight inside. In other words, it seems to be evident that verbal and visual processes of information perception are accepted by people in different ways. Thus, one can speak about the battle, and one can see the battle; the processes are not the same; so, the author gave viewers an opportunity to understand what perceptual knowledge is. Generally, I think that the author depicted a complex philosophical issue.

Reference

Visual Preferences. Macalester.edu, Web.

Latin music is one of the most popular and influential music categories on the planet. Latin musics upbeat tempo and sensual feel make it an irresistible music variant for experimentation and artistic expression. According to the Encyclopedia of Latin Popular Music, one of the most popular vocal and dance music genres came from the Dominican Republic known among music enthusiasts as the bachata (Torres 19). Just like the salsa and other well-known Latin music genres, bachata music is recognized outside Latin America. However, one can argue that there is a better way to appreciate bachata music and it is through a deeper understanding of its less glamorous history. To unleash a bachateros creativity, it is best not to suppress the music genres unsavory reputation, learn from its unglamorous beginnings to create better music and artistic expressions.

Background Information

Before going any further, it is important to understand the historical context of bachata music, especially its origin and early development. As mentioned earlier, this popular music genre originated from the Dominican Republic (Reagan 373). Bachata music is the byproduct of different musical influences that emanated from the Latin American world (Akombo 45). In the beginning, this art form was limited to a sub-category of guitar ballads (Akombo 46). With time, more instruments were added to create the bachata ensemble (Akombo 46). Thus, at the onset, this genre was only limited to acoustic music and romantic guitar music. However, as bongos, maracas, and claves were added to the ensemble it was possible to make merry at the sound of bachata music.

From the start, this particular music genre has been associated with the poor and downtrodden members of society (Reagan 373). Those who performed this kind of music either through the use of musical instruments or dancing are referred to as bachateros (Reagan 390). It has been said that the first documented instance of bachata music occurred in the 1960s (Gregory 25). Its emergence as a music genre became more prominent after the death Raphael Leonida Trujillo Molina, the countrys notorious dictator (Gregory 25). In the decade of the 60s and 70s, people from the poor countryside started to gather into social groups to express the pain and sorrow brought about by their hardscrabble existence (Gregory 25). In the said gatherings they perform music that forms the early variant of bachata music (Brill 76). It did not take long before the art form was associated with vulgar music, and it was deemed accessible only to blue-collar workers and the illiterate masses.

In the said gatherings music was a powerful source that bound people together. The lyrics given to the bachata songs echoed with words of melancholy and unrequited love. Bachata music was punctuated with elements of bolero and other Latin American music genres that are popular within the Dominican Republic (Hernandez 58). Aside from originating from the lower rungs of the countrys socio-economic classes, it can also be said that bachata music took root in a nation that did not have a long history of technical refinement when it comes to music composition (Hernandez 58). As a result, this music genre sounded crude and coarse for those who are used to sophisticated music outputs from cultural centers of Latin music like music Cuba and Mexico. Also, due to its popularity among blue-collar workers, illiterate masses, and rebels, these bachelors were stereotyped as unrefined and did not deserve any type of serious consideration from refined music connoisseurs (Stavans 77). As a consequence, local radio stations refused to play this type of music (Hernandez 58). Nevertheless, the diffusion within the grassroots level ensured the musics enduring popularity.

Two decades after it first emerged as a viable music genre, the vanguards of the Dominican Republics culture and arts started to reconsider the value of bachata music. Luis Diaz was one of the first artists who popularized the said music form, and he utilized this genre to make folk songs, endearing his musical output to countless local fans (Hernandez 59). However, it was Juan Luis Guerra who became the most popular musician linked to bachata music (Hernandez 59). Guerra popularized the use of bachata songs to express revolutionary ideas.

Forbidden Music

It was pointed out earlier that Luis Diaz was a pioneer when it came to spreading the good news about bachata music. Nonetheless, his influence went beyond the borders of his homeland. Diaz also exported bachata music to foreign shores (Hernandez 59). When bachata music was adopted in other countries, this phenomenon did not only enhanced the popularity of the music genre, but it also started the process of musical refinement as was the normal route for imports that needed to penetrate the host countrys mainstream culture. It can be argued that this is the normal route for all artistic influences that became popular not only in America but also in other parts of the world.

Upon its inception, Bachata music was rejected by the Dominican Republics elites. At least three major reasons are explaining the negative treatment of this particular category of Latin music. First, bachata music was considered vulgar or ghetto music (Akombo 45). Lyrics were suggestive, and the music was linked to acts of debauchery (Sowell 28). Second, the said music genre was associated with the revolution and made popular by establishments of ill-repute like bars and brothels (Akombo 45). Third, the music style that was created did not only cater to musicians playing musical instruments, the said music genre also produced a dance form unique to the bachata tradition (Sowell 28). The said dance form was viewed offensive because of the suggestive dance movements.

Once recordings of bachata music were made available to foreign markets, there was a stark difference in the way people from all walks of life immediately appreciated the impact of the said music genre. For example, in the United States, bachata music was embraced by educated and affluent Americans (Stavans 77). It is interesting to note that this type of music created a different effect in the hearts and minds of its original recipients. Bachatas unglamorous past still lingers in certain social strata of the Dominican Republic. One can argue that it is not easy for some members of the upper-middle-class or the national elites to forget the unsavory history of the said music genre. For example in a music festival that was held on August 27, 2010, in Santo Domingo, a city in the Dominican Republic, bachateros were not invited to take part in the festivities (Reagan 390). According to the festival organizers, the voice of the ordinary people overwhelmed the initial prejudice against bachata music (Reagan 390). Nevertheless, some of the popular artists associated with the said music genre refused to perform in protest to the original plan to exclude bachata music.

Embracing its Unsavory Past to Unleash Greater Creativity

Refining an art form and making compromises to experience greater acceptance from media moguls and influential artists can have unintended consequences on the development and evolution of the said music genre. The refining process may cause the disappearance of certain elements that are unique to bachata music. For example, the earliest criticism against this musical form was the way it made people extremely happy, and the type of energy it created paved the way for the commission of immoral activities that were frowned upon by the upper classes (Akombo 45).

Thus, toning down or removing certain elements to conform to acceptable social standards can rob the next generation of musicians of the opportunity to study a music variant that is different from those celebrated in other parts of Latin America. There is not much difference when comparing a cannibalized object that has been stripped of its critical and valuable parts. In other words, the editing process that is necessary to modify bachata music may obliterate certain aspects of the music that can probably generate insights into how to enhance bachata music to reach the next level of sophistication.

Suppressing the unsavory and unglamorous history of the development of bachata music may also stifle creativity. Consider for instance the dance form that came out as a result of bachata music. In the original version, the male and female dance partners were engaged in a close and passionate embrace. To make it more acceptable, dance instructors made modifications so that there is a considerable distance separating the dance partners (Sowell 28). One can just imagine the unintended consequences when future generations of Latin American dancers seek to find inspiration from a folkloric dance form only to be introduced to highly modified dance steps that probably resemble the dance routines of other countries. One can use the analogy of studying an original recipe. It is easier to make modifications or find inspiration in studying traditional cooking techniques compared to modern versions that were byproducts of experimentations and the combinations of different influences from different parts of the world.

Conclusion

It is imperative not to forget the unglamorous and unsavory history of the evolution of the music celebrated by these bachelors. It is prudent to allow continuous access to the original music forms and dance forms that paved the way for the creation of the modern version of the said music genre. It is only through the examination of the so-called vulgar and profane that one can find the original elements. It is important to have access to this information because an undiluted source can arguably create more inspiration and unleash a greater level of creativity compared to studying the modified versions that have been made more palatable for a large group of people. In other words, the refinement process may have compromised the integrity of the original art form making it more difficult to determine the original music that emanated from the Dominican Republic. As a result, the cannibalized art form, heavily edited and heavily modified may no longer inspire others to bring bachata music to the next level of sophistication and worldwide acclaim.

Works Cited

Akombo, David. The Unity of Music and Dance in World Cultures. McFarland & Company, 2016.

Brill, Mark. Music of Latin America and the Caribbean. Routledge, 2016.

Gregory, Steven. The Devil Behind the Mirror: Globalization and Politics in the Dominican Republic. University of California Press, 2014.

Hernandez, Deborah Pacini. Bachata: A Social History of a Dominican Popular Music. Temple University Press, 1995.

Reagan, Patricia. Insolent Origins and Contemporary Dilemmas: The Bachata. Sounds of Resistance: The Role of Music in Multicultural Activism, edited by Eunice Rojas and Lindsay Michie, ABC-CLIO, 2013, pp. 373-396.

Sowell, Gary. Afro Latin Rhythm Romance Dance. Author House, 2014.

Stavans, Ilan, editor. Latin Music: Musicians, Genres, and Themes. Greenwood, 2014.

Torres, George. editor. Encyclopedia of Latin American Popular Music. ABC-CLIO, 2013.

Minutiae are one of the earliest and biggest combines that have been created by Rauschenberg. It was created by Rauschenberg for his friends at the Brooklyn academy of arts in 1954. Their friendship is traced from the days they used to spend at the legendary Black Mountain College in the late 1940s (Diggory, 402). The main thing about Rauschenberg and his art is the fact that he lays out a picture with an ab-ex overlay.

In this artistic work, there is an effective repositioning of the aesthetic decision making process as it is in abstract expression. This is because it is basically used in literature as the element of security. Minutiae create a historic bridge between movements. Muntiae is a combination of oil paint, paper, fabric, newspaper, wood, and metal (Diggory, 431). In addition, it is also made of plastic with mirror as well as a string on a wooden structure on a beaded frame work.

Minutiae 1954 is extracted from its context but still holds to the fragments of the original meaning. Rauschenberg creates a collage using a multi media aimed at commenting on the saturated culture that media has brought to the community (Diggory, 403).

This is an implication that the Western culture has been gripped with a world of constant collage, a society that is focused on technology, as well as quotes and references This art work in addition presents an idea that the past never disappears from us. This is because it has been catalogued in the current virtual space digital memory. Furthermore, past interactions and communications have been catalogued and automatically saved for an imprecise time (Diggory, 415).

Rauschenberg combines panels, collaged photographic images, fabric found images together with some pieces of furniture unified with gestural images of brush work. As he calls it, In the space between art and life, Rauschenberg brings a move from the wall to the interactive environment. The main interest in this art work was to show the interest that for long lived in Rauschenberg. The interest in the physical environment was in him for early work. Again, the picture is an indication that painting relates to both life and art (Diggory, 451). This statement implies that life at all times will definitely reflect in any form of art work, moreover, as a strong affect on its materials.

Minutiae 1954 can be interpreted by the fact that two circumstances testify how powerful the aesthetic choices we make are. First, the over painting in the picture is an indication that the painting was modified. Secondly, is the fact that the picture presents the road that was never taken. In this case, it stands as a considerably connected entity in which a number of collage materials are gathered to work out with the purpose of serving the theme to be.

Unlike Rauschenberg later unites, the two-dimensional collage materials lose their identity and history outside the picture plane (Andrews 67). The end result is that they come to function more or less exclusively pictorially. In this case, Minutiae, is much more a traditional collage that is properly pioneered (Andrews 67). Again, the difference between these two models are shown outstandingly is the sense that collage can be reengineered to serve new pictorial purposes severed from their original purposes. The formal utility to the composition easily triumphs their object. However, collage materials can also betray an extra-pictorial origin because their autonomous sign quality is rarely circumscribed by new pictorial context (Langmead 166).

Maya Lin is an American artist and architect known for her splendid artistic work in sculpture and landscape art. Her best recalled art work is the Vietnam Veterans Memorial in Washington, D.C. Maya Lin has utilized the way scientist and computers see the universe. Lins drawings are in 3D (Langmead 166). Her drawings and images are based on the sonar view of the ocean floor to aerial and satellite views of the land (Langmead 166).

Mayas art translates to technological view into the sculptural form. Drawings such as the 11 Minute Lines are generously illustrated and beautifully designed. The art work has a systematic landscape tracing her fascination with geological phenomena as well as phenomena. The drawing, at the same time, integrates natural contours and materials which evoke landscape sculptures (Langmead, 169).

Lins earth work and public sculpture have at the same time developed alongside small scale, exploratory sculptures together with monumental installations (Andrews 32). These include 11 Minute Line through which Lin manages to evoke the entire physical process that shapes the entire universe. Lin also creates a systematic landscape exhibition drawings and relief demonstrating the expanding scope of her creativity.

The art work takes a pixel like image, of a hill, as well as a close up in order to create a form evoking into peoples mind both mound together with wave, earth and water (Langmead 156). In addition, the systematic landscape of Lins piece of work is interesting to many newcomers in the art industry. This also applies to longtime enthusiast of her unique artistic work as well as stunning creativity.

Thematically, Lin tries to ensure that her artistic work relates to her architectural background. Owing to the fact that her reasons for involving in architecture were never theoretical, she begins her art work with a psychological understanding of the environment. The main interest here is the human response to the piece of work rather than architectural impression. Her work is different from westerner in the sense that the ideology behind it is not as that in the western culture which denies reference to culture. Her piece of art work originates from a form of simplicity that can as well be traced back to Shintoism, to Zen (Andrews 45). Having no background, knowledge on western philosophy or religion, Lin uses her art work to explain her problem with the way Western European culture was presented.

One of her themes in this art work is to present equity in all genders. She expresses her displeasure with the Western order where men were at the centre of everything. Men were at a position to order the entire world (Langmead 172). On the other hand, Lin brings the Eastern understanding of art and design with a different simplicity. This is an indication that everything can be handmade, and crafted including households.

In addition, this brings out a fundamental belief that non western art and culture deals with the notion of teaching. This in turn can be seen as passive in the Western perspective. 11 Minute Line is aimed at opposing facts and in turn let individuals interpret the ideas as per their understanding. In addition, the non western culture gives the viewer hope that his or her opinion in art work is trusted. As a result, everyone has the chance to have an individual view of the world focusing on certain information.

Furthermore, Maya Lins work is an initial gesture of landscape. In urban projects, this work creates responses to the hard, urban site while, at the same time, fighting to get back to the initial nature of land, admires and love for the earth artists.

Works Cited

Andrews, Richard. Maya Lin: Systematic Land scapes: [exhibitions, Seattle, Henry art, gallery, University of Washington, 2006. New Haven: Yale University Press, 2006.

Diggory, Terence. Encyclopedia of New York School Poets. New York: Facts on File, 2008.

Langmead, Donald. Maya Lin: a Biography. Santa Barbara: Greenwood. 2011.

The subject for this week is iconography art. I have been really impressed by the subject because I have always paid attention to the icons or symbols in the art. Actually, in art criticism, iconography is defined as the description and systematization of typological features and patterns taken by the portraying of any character (real or legendary) or storyline scenes. This intricate definition hides just the symbols or images that surround people everywhere in their daily life.

I should emphasize that iconography has a very long history. It has existed in various forms  from the religious images of the pagan gods, the Lord, saints to the icons that represent the pop art objects. But during the long course of its development, this kind of art served the same purpose  to be a visible means of communication. The reading of this week reveals the ideas about the essence of an icon.

The icon could be any image used to represent a person, place, thing or idea, pictures designed to actually resemble their subjects( McCloud 27). I absolutely agree with the idea that the icons are the nonverbal sources of information. We just have to stop for a minute, look at the icon, and reflect on the informative side of it. One icon can give us enough information about the object it depicts.

Michael A. Salter, a Professor of Digital Arts at the University of Oregon, is the author of a series of installations in a number of museums and galleries of art, who made attempts to deal with a large amount of informative media content. His attempts have found their way out in numerous logos, icons, and installations. I felt really excited while watching the installation of robots. He examined the development of the icon of a robot in pop art.

While creating huge statues of Giant Sty robots, Michael pulled on a huge robot, the textured skin from scraps of foam packaging. In his works, Michael partly hypertrophied the concepts embodied in the images and statues, but he did it only in order to focus the audiences attention on some important things.

Michael embodied the image of evil idols that warn people about their high rate of resources consumption and the hopeless future awaiting them when these monsters  the products of humans consumerism  will destroy us. Among the infinite variety of materials, the artist chooses, at first glance, the worst possible  lightweight foam  to implement such a powerful, solid, and heavy concept of a GREAT humanoid robot. But in his hands, another facet of the material revealed itself.

Another artist who deals with iconography is Chris Coleman. His installation W3Fi represents a social movement, a philosophy, a path to responsible connectivity between our online/offline lives and to each other (W3FI). Coleman draws attention to the impact of pop art and the digital world on our lives. Collision is my favorite work by the artist. By the way, this work has a very similar idea to the robots by Michael Salter  it demonstrates the destructive nature of our future.

While watching his piece of art, I began to think about the consumerism of our society and the tendency of people to self-destruction. The piece depicts the life of a factory that naturally incites us to think about air pollution. The author says to us, we must understand that that smoke is the result of producing the things we use every day, from our clothes to our food (W3FI).

The work of art that has much in common with the ideas of two previous artists is the picture of Andy Warhol, Big Torn Campbells Soup Can (Pepper Pot). The picture reveals the same idea as any pop art piece  consumerism. It displays the everyday thing  the quintessential American product. I like the idea of Warhol  that the soup has always had the same taste like the Coca-Cola, regardless of who has eaten it  a prince or a pauper. These soup cans erect mass production to the level of art.

Works Cited

McCloud, Scott. Understanding Comics: The Invisible Art. New York: Harper Perennial, 1993.

W3FI. digitalcoleman.com. n.p. 2011. Web.

Introduction

The question of why there have been no great women artists has been explored from multiple perspectives. While some begin giving examples of multiple women artists that have had some impact, others point the finger at the patriarchy and cite instances when women were oppressed. In her article on this topic, Linda Nochlin (1989) discussed reasons why there has been a shortage of great women artists and concluded that it was the social forces that played a defining role in shaping the art sphere. Such factors as systems of patronage, male-oriented art academies, and social institutions favored men and thus influenced the quality of the art itself.

Findings of the Article

Norchlin (1989) was very critical of the outside conditions in which artists worked  men were supported and nurtured in their artistic development because they did not have to challenge the status quo in order to be recognized. The author wrote, art is not a free, autonomous activity of a super-endowed individual (Nochlin, 1989, p. 157). This meant that being a brilliant artist or a genius was not always correlated with ones talent but rather the luck of being included and accommodated. On the one hand, this viewpoint is reflected in the history of the oppression of women. On the other hand, the idea can be challenged by suggesting that maybe women were more productive in other areas.

Women Artists Today

Today, women-artists of numerous realms are celebrated and put on a pedestal  from prolific writers such as J. K. Rowling to musicians such as Beyonce or TV personalities such as Ellen Degeneres. Society does not fail to recognize what women have achieved. Empowered women artists are also more vocal than ever about the struggles their gender faces and support various progressive movements to push the ideas of equality into the general public narrative (Sheets, 2016). Of course, such issues as sexual harassment of women negatively reflect on the well-being of artists (for example, the Me Too movement), but social awareness is at its peak in comparison with previous decades and even centuries.

In fine arts, exhibits of women-artists have also been getting more attention than ever. The review of such websites as the National Museum of Women in the Arts (2018) shows that the works of female artists have been supported through donations and exhibits to give them recognition and sustain their living. However, these artists are not as known in comparison with social media stars and actresses. Even such personalities as the Kardashians, who are not artists to any degree, are considered more respected and famous (Jones, 2018). Therefore, despite the slowly growing recognition of female artists, there is still a long way to go.

Concluding Thoughts

From the third-wave feminist perspective, it is easy to blame social structures for preventing the development of women-artists. At times when women were oppressed and put below men, the social environment did not allow them to grow and show their talent. Today, opportunities are vast and society welcomes women in art, especially given the support of mainstream media for equality programs and campaigns. Women may need to be bolder to stand out and translate their struggles into art. However, it should be mentioned that art is the art and pinning gender to it may be considered regressive and ineffective overall.

References

Jones, D. (2018). David Bowie: The oral history. New York, NY: Penguin Random House.

National Museum of Women in the Arts. (2018). About. Web.

Nochlin, L. (1989). Women, art and power and other essays. New York, NY: Harper & Row.

Sheets, H. (2016). Female artists are (finally) getting their turn. The New York Times. Web.

Introduction

The world of art of the 16th or 17th century differed from the contemporary one and was characterized by absolute male domination. Only a few female artists managed to succeed and gain fame in art until the 19th century. Nevertheless, there is a woman whose outstanding artistic performance brought her fame already in the 17th century. Her name is Artemisia Gentileschi, and she was an Italian Baroque artist who was not treated as an important contributor to the history of art until 1970, when art researchers reconsidered her position in art and society.

Thus, the researchers stated that Artemisia Gentileschi is the first woman in the history of western art to make a significant and undeniably important contribution to the art of her time (Buckley, 2013, p. 832). Gentileschi was a follower of the naturalistic tradition developed by Caravaggio. In fact, she managed to bring it to a new level. Nevertheless, her name and artistic heritage are currently studied to feministic tradition. This essay analyzes some major works by Artemisia Gentileschi in the feministic context.

The Influences of Artemisia Gentileschis work

To understand the impact of Gentileschis work, one must see it within the historical context of her time and evaluate it according to the influence it had. Gentileschi, eventually aided in studying the basics and specifics of a painting by her father, was raised in a family of painters, with her sisters following her fathers suit (Parker & Pollock, 2013).

Her influences, highlighted in her works even today, were that of the era-defining Caravaggio, which resulted in a methodology of not only technique but also of style and topic (Farrar, 2018). Thus, the role of Gentileschi can be defined as an artist who reimagined the influence of Caravaggio and brought it into the distinctly new Renaissance era, developing a unique style.

This mélange of predecessors influence and the individual uniqueness of each work of art makes Gentileschis paintings outstanding in the artistic boom of the Renaissance. Her works display the dominant stylistic mode of Caravaggist realism and dramatic subject matter, while at the same time reimagining traditional characters in new, formerly unexplored roles (Parker & Pollock, 2013, p. 20).

This distinction from other painters, her social position as a child of a famous painter, despite being a woman, as well as her professional experience earned Gentileschi a place at the Academy of design (Poggioli, 2016). This single act did not elevate the women of the Renaissance to be perceived as artistically equal to men but did create precedence for the possible further admission of women to previously male-only institutions.

Evaluation of the Work of Artemisia Gentileschi

Artemisia Gentileschi was a rebel in her artistic career and opposed the accepted taboos of Counter-Reformation taboos. Thus, the first painting that introduced her to the artistic world, Susanna and the Elders, was a challenge. At that time, female artists were expected to paint portraits and still life, and the plot developed by Gentileschi was not acceptable (Poggioli, 2016). Artemisia Gentileschi was eager to break archaic traditions of art typical of that period, which resulted in a valuable contribution to artistic heritage.

Some of her paintings are characterized by cruelty and violence. For example, the one titled Judith Slaying Holofernes depicts a biblical scene where Judith is beheading Holofernes. The focus of the painting is on the courage and beauty of a woman. Some of her works are autobiographic. For example, apart from self-portraits, Gentileschi has a work, Lucretia, which depicts an image of a woman from classical mythology who was raped.

The tragic events of her biography influenced her work in other ways as well, not only stimulating vengeful works but also those of sexuality and grief. Gentileschis depiction of Mary Magdalene, the Biblical prostitute and friend of Jesus, highlights the melancholic feelings of her character, thus making Mary Magdalene and Judith the obverse and reverse of the same coin (Reenkola, 2013). In the very same Magdalene, some researchers find depictions of sexuality and desire, linking them to the fact that Gentileschi pursued a relationship with her rapist, customarily expecting marriage as amends to her honor (Reenkola, 2013). Thus, the multitude of emotions is evident in her work, with scenes of both anger and sorrow, vengeance, and desire presented in different paintings.

The weight assigned to Gentileschis work varies, with different researchers having a multitude of opinions on her historical and artistical influence. Even following the reevaluation of her place in the history of art and her elevation in the 19th century, while her genius was not disputed, strong words were written about its atrocious misdirection (Parker & Pollock, 2013, p. 21). Today, researchers credit Artemisia Gentileschi as one of the outstanding artists that made the depth of Renaissance artistic expression possible.

Her depiction of women reimagined their position as creators, not only as concepts and as muses, which is a practice that carried well into the Baroque period (Farrar, 2018). Thus, it is possible to assign Gentileschi the role of not only a painter of exceptional emotion but also of a pioneer in the depiction of women: as both actors of historical scenes and as artists.

Artemisia Gentileschi as an Early Feminist

Researchers often study Gentileschi through a lens that sees the hardships of her life, her rape, and the path to recognition in the male-dominated painting scene of Italy as defining episodes of her life. Some researchers argue that this is not an appropriate way to approach the weight of Gentileschi in the history of art, which stems from the inability to put her into a pre-existing category as a creator (Parker & Pollock, 2013).

Parker and Pollock (2013) state that some, inappropriately, perceive her depictions of strong women as man-hating or as influenced only by her rape and the negative emotions stemming from it. To appraise this, one must not only compare and contrast Gentileschis most famous painting of Judith but also know the historical context behind the Biblical scene that was in place during the Renaissance and its time of creation.

It can be supposed that the life and artistic career of Artemisia Gentileschi was significantly influenced by her rape at the age of 17 (Buckley, 2013). Her pieces of art created during and after the trial over her abuser are treated as symbols of revenge against the man who raped her (Poggioli, 2016, para. 14). Moreover, this sad event had an impact on her perception of a woman who appears to be powerful and strong in her paintings.

Thus, her famous work Judith Slaying Holofernes depicts females who demonstrate superiority over a man. Also, her paintings of that period involved the topics of defiance and freedom. On the whole, both her paintings that depict the tendencies of female empowerment and her success as a female painter made Gentileschi a feminist inspirer some centuries after her death. Nevertheless, at times of their creation, her works of art were not associated with feminist ideas.

Despite this, Gentileschi is seen as a pioneer in the depiction of strong women, giving them not the typical physical prowess but social and emotional power. Merging different trends: Caravaggian strong characters, famous Biblical scenes, Florentine wealth and excess, and the Renaissance humanistic approach, Gentileschi creates a unique narrative for women (Farrar, 2018). Her view of women is justifiably self-inspired through her success and survival, and she aptly writes of herself to her patrons: you will find the spirit of Caesar in the soul of this woman (Parker & Pollock, 2013, p. 20).

Researchers cannot describe this approach as feminist, as the conception of feminism cannot be adequately transferred into the realities of the Italian quattrocento. Despite this, her approach to the role played by women in their own life and their nations history cannot be downplayed, as it gave rise to the furthering of women as protagonists of their narrative.

Conclusion

To summarize, it should be mentioned that Artemisia Gentileschis heritage can be treated in different ways. On the whole, most of the researchers conclude that her works open a new direction in painting and introduce women into the artistic world. In her prominent position as a woman of her time, a pioneer not only in art but also in education, Gentileschi brought change by action. As the first woman accepted in the academy of design, she became an example to follow for other female painters. Apart from her contribution to the history of art, Artemisia Gentileschi is considered to be a great female artist who stimulated the development of the feminist movement.

References

Buckley, P. (2013). Artemisia Gentileschi, 15931653. American Journal of Psychiatry, 170(8), 832-833. Web.

Farrar, M. (2018). Identity, invention, and influence in the life of Artemisia Gentileschi. The Journal of the Core Curriculum, 27, 15-23. Web.

Parker, R., & Pollock, G. (2013). Old mistresses: Women, art and ideology. New York, NY: I.B. Tauris & Co Ltd.

Poggioli, S. (2016). Long seen as victim, 17th century Italian painter emerges as feminist icon. Web.

Reenkola, E. (2013). Vicissitudes of female revenge. In I. Moeslein-Teising & F. Salo (Eds.), The female body: Inside and outside (pp. 201-222). London, England: KARNAC.

One of the prominent controversial artworks of the 20th century related to sexual revolution and women empowerment is a song called Like a Virgin performed by Madonna in 1984. The name of the song alone led to the establishment of versatile conversations and arguments in the conservative American society of the 1980s. Overall, the music piece was deemed debatable at the time, and the live performance on MTV only fueled the heated discussions. Madonna wore the wedding dress on a stage, which consisted of an extravagant corset and a belt that declared Boy Toy on the buckle (The New York Times, 2018). Therefore Like a Virgin has sparked controversy within the mediums of both the music industry and television.

In a traditional, conservative environment, a womans central purpose is to find a loving husband and start a happy family. In Like a Virgin, the singer concentrates on a moment of attraction and parallels it with the concept of virginity (Madonna, 1984). Notably, demonstrating a connection between finding love and being a virgin is a crucial constituent in the context of second-wave feminism, which was emerging at that time (Piechota, 2018). The vocalist openly points out her sexual desires, which are considered sacred and forbidden in a conventional society. Apart from song lines, her behavior and appearance on a stage were viewed as provocative, leading to females sex empowerment. Interestingly, her provocative movements on the stage were accidental; thus, partly, her controversial appearance was not initially planned to be inciting. In her interview with MTV, Madonna revealed that she had a minor accident with her footwear; therefore, she reached for the shoe, the dress went up. And the underpants were showing (Garibaldi, 2014). Madonna utilizes the song and MTV performance to break various stereotypes and stigmas, making a significant social contribution; though, some of it was unplanned.

The works aesthetic aspects, including the revealing clothing and the provocative belt buckle, are creative ways of redefining passion expressions. A journalist and critic Jacob Bernstein claimed that in a Like a Virgin, Madonna turned wedding dresses into bold statements of female sexuality (The New York Times, 2018). Second-wave feminists, including Madonna as a contributor, added to the conversation on topics that were considered taboos, such as abortion and female sexuality (Piechota, 2018). The general discussion was concentrated on female attractiveness and the associated behavioral expectations and norms. Famous social activists and controversial figures allowed women to be heard, as the traditional social standards and human conditions were somewhat restrictive and limiting. The work does not directly relate to my life, as the 21st century has been a relatively open era for women to represent themselves and their sexual preferences. However, I understand that the second-wave feminists contributed to contemporary women not undergoing any difficulties in self-expression.

While neither the song Like a Virgin nor its live performance was censored at the time, both generated discussion in the United States about explicit content in entertainment. Governments should only seek to censor art in very specific circumstances and approach any censorship on a case-by-case basis. Only in situations where non-consenting people are put in danger, should the government step in and seek censorship. In general, government censorship is rarely justified and should be avoided. The justifications often used include reference to the public good, yet this is an ill-defined term, and the relationship between an element of art and the public good is unclear. Furthermore, art is largely subjective, and creating a governmental body with the power to determine what art is useful or beneficial seems both dangerous and ineffective. Madonnas Like a Virgin and its live performance are relatively benign as creative works that were not censored, nor should they have been.

The live performances of Like a Virgin contained purposefully contrasting ideas and imagery of second-wave feminism and Catholicism. Madonna exemplifies the cultural shift of the 80s in the United States as a female performer, surpassing her male counterparts in fame and popularity. On stage, Madonna exhibited female sexuality through her wardrobe choice and actions. This, combined with her sexually empowering music, is a clear example of second-wave feminism (Piechota, 2018). The performances visuals include references to more traditional, catholic motifs, including a wedding cake and a dress with a veil. This created a contrast with her provocative actions on stage, including humping and rolling around on the ground. The performance uses catholic vocabulary in the show, including the artists stage name Madonna in reference to the Virgin Mary.

The combination of human expression and the emotional responses evoked by the performance indicators that Madonnas Like a Virgin is art. Madonna successfully deconstructs her environment through provocative lyrics that are simultaneously self-empowering, imbuing the performance with an element of postmodernism (Canavan & Mccamley, 2020). Furthermore, there are artistic elements present to strengthen Like a Virgins status as art. The MTV performance combines music with visuals and dance, which are all creative fields combining original expression with technical skill. The controversy generated by her actions on stage indicates an emotional resonance with the public, sparking debate and discussion about sexuality in entertainment (Piechota, 2018). A performance capable of generating discussion and controversy, coupled with the songs artistic elements and actions, indicates that Like a Virgin must be considered art.

References

Canavan, B., & Mccamley, C. (2020). The passing of the postmodern in pop? Epochal consumption and marketing from Madonna, through Gaga, to Taylor. Journal of Business Research, 107, 222230.

Garibaldi, C. (2014). Heres the wardrobe malfunction that made Madonnas Like a Virgin VMA performance legendary. MTV.

Madonna. (1984). Like a virgin [Song]. On Like a virgin [Album]. Sire.

Piechota, D. (2018). Emancipation according to Madonna. In A. JabBoDska & M. KoryciDski (Eds.), 80s again: A monograph on the 1980s (pp. 71-91). Jolanta SBobodzian Film Club.

The New York Times. (2018). 60 times Madonna changed our culture. The New York Times. Web.

.