ASSIGNMENT 9 - Issue Based Art

REBECCA D'ATH-WESTON
CIT077254
Project 9- Issue Based Art
Visual Culture.


Baum, T. 2003, Vernon AH KEE, Print, ink on polypropylene board, satin laminate, Queensland, viewed 14. 05. 2011,
< http://cs.nga.gov.au/Detail.cfm?IRN=129593 >.

This 2003 artwork, Austracism, created by Vernon Ah Kee is a print print, ink on polypropylene board, satin laminate by digital print, printed in colour. The dimensions of this work are, 120.0 h x 180.0 w cm and it was created in Brisbane, Queensland.

I selected this work because of the clear statement about our culture and history in Australia of racism. This work appeals to me because of my Caucasian background but experience in an extremely multi-cultural High School. Being surrounded by other cultures my entire life and having both parents from different countries, I am highly against racism and any sort of prejudice.

I consider this work to be postmodern because despite general lack of colour, pattern and other usual techniques of art, this work focuses on depicting a modern issue in today’s society about racism, and fighting against it by conveying the message that it is unacceptable. I believe the reviewer is meant to feel shame, guilt and disappointment for the mistakes and racist attitudes they have felt or overseen. I also believe this image is also supposed to shock and disgust the responder, creating realisation and awareness of the issue.

The formal devices the artist has used is a distinct contrast of the “AUST” and “RACISM” sections creating a visual depiction of the “white and black” or “light and dark” seen in society today. He has also used the technique of printing with words in the foreground in bold, large font writing with small, insignificant words in the background. These words in the background are a collection of statements beginning with “I’m not a racist but…” and then continuing to make a prejudice remark.

I believe this work was influenced by his Aboriginal background as part of the “Kuku Yalandji, Yidindji and Gugu Yimithirr peoples of the Innisfail, Cairns, and rainforest regions of North Queensland, the Koko Berrin peoples of Kowanyama in the West Cape region of Queensland, and the Waanji peoples of the North-West Queensland region around Mt Isa.” I believe this history, upbringing and his background means he has a personal connection with the emotions of being judged based by race and colour. I believe this message of anti-racism in Australia was conveyed effectively by giving a blunt shocking statement that provides a straight forward declaration.

My prior knowledge, cultural perspective and personal opinion definitely impact the way I view and perceive this image. When I believe in something, I am strongly passionate about the issue at hand. When it comes to this, I don’t agree with any sort of xenophobia, racism, sexism, or any type of prejudice. Being close friends with many cultures in this “stirring pot” of Australia, my personal perspective really influences how I view the image by making it more powerful and leaving no acceptance for intolerance.



BIBLIOGRAPHY

Baum, T. 2003, Vernon AH KEE, Print, ink on polypropylene board, satin laminate, Queensland, viewed 14. 05. 2011,
< http://cs.nga.gov.au/Detail.cfm?IRN=129593 >.

(2007), Dictionary of Australian Artists Online, viewed 14. 05. 2011,
< http://www.daao.org.au/main/read/6995 >.

Assignment 10 - Architecture and Identity.

Project 10: Architecture & Identity.
Rebecca D’Ath-Weston
CIT-077254




Visual Culture 1.

Before this excursion, I had no knowledge of the Richard Weller architectural work, The Garden of Australian Dreams (GOAD). This experience was enlightening for me and taught me a lot about Australia and our history. The artwork I chose to study from GOAD was the Mexican Wave. This yellow, black and red set of domino like blocks has a significant effect of me mentally and is a depiction of Australian history and culture.

What does the work Reference / Why does it appeal to me?
--The symbolism of this postmodernism artwork is what appeals to me with each element having a different meaning that varies from person to person. The shape and structure of this work is curved around the GOAD and creates the feel of a stadium. This represents the overwhelming passion for sport that Australian’s process and makes the viewers of the artwork to feel as though they are in the stadium environment. This message ties into the opposing culture of the Aboriginal flag colours of red, black and yellow. These two ideas contrast as they both reveal a different perspective of Australian culture, the native, indigenous side and the Western culture. I am personally unsure if this work is at all meant to look like dominos, but to me, it also represents the history of Australia from the Wars and the “domino theory” that occurred back when fighting communism. All of these issues addressed by the artwork are the reasons to why it captured my attention and appealed to me.







Why did Richard Weller include it in the GOAD at the National Museum of Australia?
--I believe that Richard Weller included this work into GOAD is because of its accurate depiction of both perspectives of Australian culture and history. The symbolism of sport for Western culture and the flag for our indigenous Aboriginal culture both created the historical country we live in today and I think his choice to add it was suited to the GOAD’s environment, significance and image.

Why is GOAD considered “Postmodern” landscape architecture?
--The GOAD is considered to be Postmodern landscape architecture because of its significant message and disregard for logical structure. The message being conveyed is the main focus of the art and its intension to depict a historical and cultural story of time and events.

BIBLIOGRAPHY

2011. National Museum of Australia, Canberra. Viewed 14. 05. 2011
< http://www.nma.gov.au/about_us/the_building/ >.

Image of the Aboriginal Flag, Flag logo image, Aboriginal Art. Viewed 14. 05. 2011.
< http://aboriginalart.com.au/culture/aboriginal_flag.html >.

Visual Culture Project 4. Frames of Reference.

The Artwork i chose was the 1934, oil on canvas painting, "The Rape", by Rene Magritte (1898 - 1967). The image is created on a fairly unappealing background with no focal points of interest but seems to resemble a horizon. The only real line and texture of this image is focused in the hair of the female subject in the centre foreground. According to Spalding, the 72.4 x 53.3 cm piece is an optical red herring leading the responders eyes wandering through the work. The first image seen by the viewer is the face and head of a female subject, quickly turned into the surreal, sexual image of a naked body, "her eyes are actually her nipples, and her pinched mouth is her pubic triangle." He then continues to interpret the image as the 'attitude' and views of the artist in the period of surrealism as it's appearance becomes unreal, or in his words, "a super-reality." Spalding believes the work is the realistic, blunt version of human wants and cravings.

My interpretation of "The Rape", contrasts Spaldings. Despite my acceptance of the surrealist movement having an influence on this work and the subjects face being a sexual representation of lust, needs and "desires", i believe the sexual connotation in the work is slightly more sexist and derogatory. The first impression of this work that i got, was the depreciation of women by the male eye through their sexual urges and the name makes me think that the woman is realistically viewing the pressures of his cravings, or feeling as though she is a sexual object. This idea crossed my mind due to the social environment i was raised in throughout my life, with a comfortable socioeconomic status and a surrounding female influence. My lesson throughout the years through education, political battles, and in the home environment, has been that women will always be seen as a less physically superior race and carry the sexual image as a challenge every day. The artists work reminds me of the power women posses of their own bodies that often isn't controlled or isn't of concern. Although this painting does not interest me as an artwork i would hang on my wall or stare at for hours on end, i do appreciate it and the meanings behind it, as it makes me feel curious and provokes thought, which i believe is the aim of most artists in the current world.

Acknowledgements.

Spalding, J, The Art Of Wonder A History Of Seeing, Prestil

Image: Magritte, R, 1934, 'The Rape', Menil Foundation Collection, Texis, pp. 265-266. Chapter 10.

Week 3. Harvard Referencing Task.

Due to being away for that lecture, I was clearly unsure how to complete this task fully .... BUT this is what i did do, hopefully up to standard or right.

• Dean, J 2009, 'Arthur Frommers', Arthur Frommers Budget Travel, vol 12 01 July 2009.

• Looymans, C. 2008, 'Layer Basics', Australian Photography, October 2008, pp22-26Hooper, J & Hooper, T 1978, A Guide To Collecting Australiana, South Melbourne.

• O'Meara, J. 2001, 'Electric Art', Capture Commercial Photography Magazine, July/ August 2001, pp. 24-27.

• Reddy, J 2009, 'Frequent Flyer', The Sydney Morning Herald, 05 December 2009.

• Sweet, T 2011, Fine Art Flower Photography: Creative Techniques, Better Photo, Accessed 04 March 2011, http://www.betterphoto.com/article.asp?ID=54

• Warhol, A 2007, Andy Warhol, Queensland Art Gallery, South Brisbane.

• Zuckerman, J 2011, How to Shoot Wildlife Photography, Better Photo, Accessed 04 March 2011, http://www.betterphoto.com/article.asp?ID=43

Project 1. "Is It Any Good?"

The piece of work that i chose to study was the 2008 glass blown sculpture by Peter Bremers, called "Antarctic Splendour - Double Graal." The "46 x 42 x 41" piece of work is seen in the Craft Arts International, issue 76 in 2009.

I like the work due to the interesting colours of turquoise, blue, green and white all en crafted in the swirled smooth texture of the sculpture. The composition of the work on its side creates a visual interest for me as it's a metaphoric symbol for the ice burgs in Antarctica, revealing their delicate beauty and rarity. The image of water and ice is clearly depicted through his contemporary reflection on the environment that inspired him and his creative approach to fine art.