Analysis Of The Obliteration Room By Yayoi Kusama

Wilson’s overall goal with this mural is to leave her legacy and hopes to inspire others to make a change. “In the grand scheme of things, yes it is just a painting, and yes all I am doing is painting on a small wall in our high school, but it’s a

In the world of art, many artists are known for being vocal about their cultural identity and heritage and things they strongly believe in. They use their work as a means of expressing their views on society,politics,emotion and more. Curator Brenda Croft argues that some artists are "cultural warriors" who defend their territory through their art. In this essay, I will explore the works of two artists, Gordon Bennett and Emily Kame Kngwarreye, and analyze how their roles as artists can be interpreted to reflect Croft's view. Gordon Bennett was an Australian artist of a Aboriginal and Anglo-Celtic background.

And furthermore, recognize the symbolism documented in the painting for iconographic analysis. In doing so, this will highlight and comment on important characteristics of Omnibus Life in London as it yields new information regarding the emerging shift in social inequality. Through formal analysis, the visual characteristics of the work present an interesting insight into the painting. The first emotion that I experienced with this work was claustrophobia and crowdedness. Part of the feeling spawned from the three-dimensionality of the painting.

As restrictions eased, the detainees were allowed paper, pens and pencils to draw. Through creative expression many of the prisoners were able to find their individual identity once again. After living so long in a facility designed to tear away every last shred of individuality and freedom of self expression, prisoners were filled with so much pent up emotion. When I first encountered Adayfi’s artwork it struck me that despite its elegant simplicity, it seemed to convey so much emotion. One particular piece stuck out to me, one that was split into two halves.

“I am for an art that is political-erotical-mystical,” Claes Oldenburg describes his artistic view, “that does something other than sit on it’s ass in a museum.” When observing Oldenburg’s piece, Giant Three-Way Plug, Scale A, it appears to simply depict an oversized electrical plug and thus contradict this grandiose statement. However, after incorporating the context in which this piece was made, one can see how it exemplifies the provocative nature of his work and the Pop Art movement. While the intention behind the 1960s movement of Pop Art is ambiguous, Oldenburg’s statement shows that his work is supposed to make the viewer question it. He elaborates on this statement, promoting art that is accessible to everyone, can originate from anywhere, and can incorporate absolutely everything.

Art is the force that bonds humans, connecting people across both seas and centuries. It is simultaneously historical and futuristic, original and inspired, intimate and distant. Without art, humanity and relationships are lost. Though art doesn’t always involve language, it is a universal communication tool that allows people to cope with trauma and bond with one another, no matter where or when they reside. Works of art incessantly draw from and inspire one another.

To the question of whether multiculturalism is a real possibility, we first need to define multiculturalism. Multiculturalism is not tolerance. Multiculturalism is finding value in paradigms shared by groups other than our own. Outsider artists present the challenging question of whether we can value personalized paradigms belonging to individuals or do we simply group outsider artists into one space and call them outsiders and value them for their difference from us as a group without worrying about how they differ from each other. The danger of the latter approach is that when we group people, ignoring their individuality, we dehumanize them.

Ai Wei Wei’s politically fueled installation Remembering covered the façade of the Haus der Kunst in Munich, Germany in 2009, where he had a show titled, So Sorry. The work, Remembering, which measured one hundred meters by ten meters, was compiled of nine thousand children’s backpacks. Using simple colors and design techniques, Ai Wei Wei’s installation not only catches the viewers’ attention with sheer size, but also ignites a deeper emotional spark and fueled a lasting conversation whose reach not only initiated controversy with Chinese and German natives, Chinese governmental officials, and Ai Weiwei himself, but also internationally. Using five rudimentary primary and secondary colors: red, blue, yellow, green as well as white these uniform

The artist created these relatable images as an effort to persuade the viewers to make a positive impact on the

The artwork addresses the effects of historical globalization in a number of ways. First, it highlights how awful and cruel the transatlantic slave trade was, which was a significant aspect of

The art is often created to reflect the beliefs and practices of the religion and is an important source of community and identity for Haitians. Transition: Having discussed my culture’s art, let's now turn our attention to another important aspect of Haitian culture, such

There is something enticing about the idea of working together, of collective labour in our individual-focused, Isociety. Claire Bishop in her seminal book, Artificial Hells, comments that “Along with ‘utopia’ and ‘revolution’, collectivity and collaboration have been some of the most persistent themes of advanced art and exhibition-making of the last decade.” This revitalisation of the value of collaborative practice can be seen beyond art as it appears more broadly in society in the form of collective and collaborative movements such as the Occupy movement. The idea of working together for goals that go beyond that of commercial viability or financial gain seems to be gaining traction. Collaboration as a working method allows different ideas, points of view, skills and experience to come together in tension, and in harmony, and seems to be fertile ground for these two emerging artist duos of Alexandra Spence and Katrina Stamatopoulos and Akira and Nathan Lasker.

Due to Craig-Martin giving certain rooms to specific curators, each of these rooms have decided to follow a certain theme of the curators choice who has been given this room. For example, Jock McFayden decided to concentrate on the subject of ‘radical landscape’ with the room he was given called the second gallery space. However, he found himself drifting away from and broadening his interpretation of the theme to more of ‘an idea of Britain now’, which demonstrates how fluid and compromising exhibition design can be in regards to its aesthetics and the original ideas for the space. Conversely, ‘Ravilious’ exhibition design followed a theme in terms of subject matter in each room, which was concerned mainly with the aesthetics of the work, however ‘The Summer Exhibition’ as a collection of rooms is contrastingly athematic.

1. Introduction ‘When any civilization is dust and ashes,’ [Jimmy] said, ‘art is all that’s left over. Images, words, music. Imaginative structures. Meaning – human meaning, that is – is defined by them.

Reminding one of the age-old tradition, of doing the same as a part of a wish fulfilling superstition; especially related to those of financial security. The sheer material richness and the ambiguity of the work creates a sense of apparition. The work seems to be visually closed, as the sculptures don’t face the viewers, but invariably call them to take a closer look. To counter this sense of an isolated and independent presence is a gallery, Tallur strikes a sense of involvement from the viewers, as he invites them to touch, feel and ‘work’ on the work. He does this keeping in mind the wish fulfilling ritual and