Cross Currents Sf Under My Thumb Art Womens Building
Carrie Mae Weems, May Flowers, 2002, printed 2013, chromogenic print, Alfred H. Moses and Fern Thou. Schad Fund, 2014.3.ane
How is identity shaped, formed, and expressed?
How can works of art help us understand our world and ourselves more than fully?
"I always think about the work ultimately as dealing with questions of dear and greater issues of humanity. The way it comes across is in echoes of identity and echoes of race and echoes of gender and echoes of form." —Carrie Mae Weems
"It is necessary for me to utterly repudiate so-called skilful painting in order to be free to limited that which is visually true to me." —Bob Thompson
"Most of my work, when I look at it, is nigh retentiveness and loss" —Jim Goldberg
Studying artists and their works invites explorations of identity and the human condition. What drives artists to create? What choices practice artists make, and why? Sometimes artists straight engage with questions of identity in their artwork: Who am I? How do I relate to others, and how exercise they relate to me?
Identity is shaped, formed, and expressed in complex means. Many artists featured in this module directly appoint with race, gender, and class. For example, the works of Carrie Mae Weems prominently feature African American women. Other artists question their own—or others'—ways of looking and existence, as Jim Goldberg does in his Rich and Poor series. For many artists who live and work in the United states of america, contending with notions of identity is further complicated by the country's complex history. Consider Deborah Luster'due south projection One Big Self: Prisoners of Louisiana, which pictures the furnishings of mass incarceration unique to the United states of america.
As you explore the works of art in this module, consider what feels satisfying, surprising, confusing, or unfamiliar. What questions and themes do these works of art raise for you? Reflect on concepts such equally agency, lawmaking switching, grapheme, way, stereotypes, and authenticity. How tin works of art help u.s. understand ourselves and our globe more than fully?
Expressing the Individual Charles Bird Rex,Poor Artist's Cupboard, c. 1815, oil on wood, Corcoran Collection (Museum Purchase, Gallery Fund and exchange), 2014.79.24 Examine Charles Bird King's Poor Artist'due south Cupboard closely and the story of an creative person will begin to sally. "C. Palette" is his or her name, and things don't seem to be going very well for him or her. Clues appear in volume titles like Miseries of Life and Advantages of Poverty, as well as in the meager repast of staff of life and notice of a sheriff'due south sale. King lived in Philadelphia for iv years and simply sold 2 paintings during that fourth dimension. He was independently wealthy, so scholars believe this painting is meant as a commentary on the lack of support for artists in Philadelphia by and large. At times, though, Male monarch posed as if he were poor—sleeping on the floor instead of a bed or eating sparse meals. Why practise you recall King might have pretended to exist poor? What other details tin can you find that tell us more about the "poor artist" of this painting? How are artists and the arts in general supported today in your schoolhouse, community, and country?
Expressing the Individual Marsden Hartley,Berlin Abstraction, 1914/1915, oil on canvas, Corcoran Collection (Museum Purchase, Gallery Fund), 2014.79.21 Berlin Abstraction is one in a series of paintings Marsden Hartley called the State of war Motifs. They incorporate heavily coded expressions of Hartley'due south life in Berlin'southward vibrant LGBTQ community, the role of the German military in that culture, and an outpouring of the creative person'southward thoughts about war. Hartley created the paintings after his close friend (and likely lover) Lieutenant Karl von Freyburg died in World War I. In a way, this painting is a portrait of Freyburg and Hartley's relationship. Multiple details allude to Freyburg: · the number 4 in the painting references the Fourth Regiment, in which Freyburg fought; · the red-and-white checkerboard references Freyburg'southward dearest of chess; and · the black cross encircled by red and white is an abstracted version of the Iron Cantankerous, a military machine accolade posthumously awarded to Freyburg. Other colors and symbols refer to aspects of German civilisation and military machine pageantry. How would you visually represent the loss of a loved one? What references to them and their customs might yous include?
Expressing the Private Awa Tsireh,Two Kossa, c. 1925, castor and blackness ink with watercolor over graphite on wove newspaper, Corcoran Drove (Souvenir of Amelia Due east. White), 2015.nineteen.381 Awa Tsireh (San Ildefonso Pueblo) is one of many Pueblo artists whose works were popular in the early 20th century. Tsireh typically painted figures related to Pueblo traditions and ceremonies, such as these kossa—sacred clowns associated with Tewa-speaking Pueblos. Sacred clowns entertain Pueblo ceremonial participants and they are also, as 1 scholar writes, "fundamental to cosmic regeneration, they promote healing and fertility, they encourage harmony, and they enforce social control." Tsireh painted sacred clowns, distinguished from other figures by black and white stripes on their bodies and vesture, more frequently than other Pueblo artists at the time. It may accept been his way of resisting efforts by the Office of Indian Diplomacy in the 1920s to ban dances and dismantle Native cultures in general. Tsireh helped preserve Pueblo civilisation and knowledge by omitting or altering details in his paintings for non-Pueblos, never revealing too much to those outside the customs. Some scholars see works past Tsireh and other Pueblo artists equally examples of "survivance," referring to American Indian acts of survival, resistance, and endurance. Why do yous retrieve this term might have come into employ? What wonderings practise y'all have about Awa Tsireh? Acquire more nearly Pueblo cultures: "Reporter'southward Notebook: Hopi Sacred Objects Returned Home," NPR News
Youth and Instructor Resources, Hopi Cultural Preservation Office
Expressing the Individual James Castle,Untitled (Figures Lined Confronting a Wall), n.d., color wash and soot on found paper, Gift of James Castle Collection and Archive, and Acquisition with Pepita Milmore Memorial Fund, 2013.33.33 James Castle created art from the time he was a child growing upwardly in a small-scale town in Idaho. He used institute and homemade materials for his works, including cardboard, newspaper, and soot mixed with saliva to brand an inklike solution. Castle was born profoundly deaf. He attended and lived at the Gooding School for the Deaf and Bullheaded from 1910 to 1915, but he lost most of his applied ability to communicate after he left school. Information technology'southward unknown to what extent he could read or write, but he made art for much of his life. Castle oftentimes drew from memory or observed what was around him. What practice you lot discover nearly the work he created here? What does his life story make you think about?
Expressing the Individual Walker Evans,Bridgeport, Connecticut, 1941, gelatin silver print, Gift of Mr. and Mrs. Harry Lunn, Jr., in Award of the 50th Ceremony of the National Gallery of Art, 1990.110.12 Walker Evans captured these women on film while on assignment for Fortune mag in 1941. He completed the assignment past spending a unmarried hour in downtown Bridgeport, Connecticut, photographing passersby on a June day. In a prior series of photographs the creative person hid his camera as he documented New York City subway passengers. In the Bridgeport series, many pedestrians stared at Evans, who hoped his photographic camera, visible to all, could serve as an objective recording device. What expressions exercise y'all detect on the faces of these women? Consider the choices Evans fabricated as an artist. Practise you lot think information technology's possible that he was completely objective in photographing them? Meet more photographs by Walker Evans.
Expressing the Individual Ivan Albright, George C. Miller, Associated American Artists,Self Portrait at 55 Due east Segmentation Street, 1947, lithograph in black on wove paper, Gift of John Nichols Estabrook and Dorothy Coogan Estabrook, 1987.41.1 Ivan Albright's most famous painting, now housed at the Fine art Plant of Chicago, is one he created for the 1943 film adaptation of Oscar Wilde'due south The Pic of Dorian Gray. In Wilde's novel, Dorian Gray trades his soul to stay immature and beautiful as he lives a self-indulgent life of vice. His crimes are seen only in a portrait of Gray, which grows more ugly and deformed as Greyness's abuse deepens. The picture show'south director selected Albright to paint the film's portrait of Dorian Grayness considering of the artist's meticulous, obsessive technique and complex manner, on view here in a self-portrait from 1947. Examine the textures and objects you see: what do you think this self-portrait says about how Albright saw himself? Meet Albright'due south Picture of Dorian Gray.
Expressing the Individual Ruth Asawa,Umakichi, 1965, lithograph (rock) in black on white Arches paper, Gift of Dorothy J. and Benjamin B. Smith, 1983.xviii.190 After the Japanese bombing of Pearl Harbor in December 1941, U.s.a. government officials became worried that Japanese Americans would commit acts of treason or sabotage. The US decided to imprison over 100,000 Japanese Americans—more half of them US citizens—in internment camps in the western half of the country for the duration of World War Ii. Ruth Asawa and her family were amongst these Japanese Americans. Asawa spent 18 months in the camps, until she received a Quaker scholarship to attend college in 1943 in Wisconsin to become an art teacher. However, because she was prohibited from teaching equally a Japanese American, she did not complete her caste. She moved to North Carolina to study art at Black Mount College and then pursued a career in art and education in California. Asawa fabricated this printed portrait of her father, Umakichi, in 1965. Umakichi was arrested by the FBI in 1942, when Asawa was in high school. At the time he was a 60-year-old farmer who had been a U.s.a. resident for 40 years. Asawa did non see her father once more until 1948. How does Asawa depict her father hither? Why do you remember she might have chosen to show his face in the style she does?
Expressing the Private Diane Arbus,A Young Man in Curlers at Home on West 20th Street, Due north.Y.C., 1966, gelatin silver print, Souvenir of the Collectors Committee, 1994.78.1 Diane Arbus's photographs have long been a source of controversy and criticism. Some critics affirm she exploited her subjects, many of whom were outsiders to mainstream society, like this man partially dressed in drag. Others see her works equally brave and innovative. When this photograph was offset exhibited in the 1960s at the Museum of Modern Art in New York, museum staff wiped spit off its glass surface many times. Look closely at the photograph. How has the man altered his appearance and features to announced more stereotypically feminine? Given what you see, how do you retrieve he felt beingness photographed past Arbus? (Arbus always asked for permission to photo and reproduce images of her subjects.)
Expressing the Individual Barkley Leonnard Hendricks,Sir Charles, Alias Willie Harris, 1972, oil on canvas, William C. Whitney Foundation, 1973.19.one Examine this human being's pose, posture, and clothing. How would you depict his personality based upon what you run across? Barkley Hendricks made African American and Latino people the subjects of his portraits start in the 1960s. He painted himself, friends, family members, colleagues, and others from his neighborhood—anyone with "distinctive style, personality, and attitude that caught his attention and inspired a creative response." Hendricks painted portraits even equally they had fallen out of favor in the mainstream fine art earth. His works celebrated blackness and chocolate-brown bodies and directly addressed the absence of positive portrayals of black people in art history. The human being shown here, Sir Charles, was a "minor-time New Oasis drug dealer" Hendricks encountered while living in New Haven, Connecticut. Why do you think portraits similar this might have been seen as political during the 1970s? Why might Hendricks have called to show Sir Charles from iii different perspectives?
Expressing the Individual Ana Mendieta,Untitled (Silueta series), 1977–1978, gelatin silver print, Gift of the Collectors Committee, 2007.2.2 Ana Mendieta and Christina Ramberg shared an involvement in studying and depicting the female body. In Mendieta's Silueta (silhouette) series, she created silhouettes from natural materials in the shape of her torso and then photographed the work before it disappeared back into the earth. Mendieta fled Cuba equally a 12-year-sometime with her sister; they lived in US refugee camps and foster homes for two years before they were reunited with family members. Her piece of work makes sense of this traumatic experience as she reconnects with her Cuban heritage through physical and spiritual means. Christina Ramberg's depictions of fragmented torsos and hips, often leap or corseted, recall the hourglass silhouettes of women in the 1940s and 1950s. Critics also meet vehement, playful, or sadomasochistic references in her work. Compare this work with Christina Ramberg's representation of the female torso: what's similar and what's different? What practice you call up these works say about women together? Look deeper into 2d wave feminism: would you consider these artists or their works feminist?
Expressing the Individual Christina Ramberg,Back-to-Dorsum, 1973, etching in black on wove paper, Gift of the Collectors Committee, 2015.158.2 Ana Mendieta and Christina Ramberg shared an interest in studying and depicting the female body. In Mendieta'southwardSilueta (silhouette) series, she created silhouettes from natural materials in the shape of her body then photographed the piece of work before it disappeared back into the earth. Mendieta fled Cuba equally a 12-year-old with her sis; they lived in Usa refugee camps and foster homes for two years before they were reunited with family members. Her work makes sense of this traumatic feel every bit she reconnects with her Cuban heritage through concrete and spiritual ways. Christina Ramberg'due south depictions of fragmented torsos and hips, often jump or corseted, remember the hourglass silhouettes of women in the 1940s and 1950s. Critics also see violent, playful, or sadomasochistic references in her work. Compare this work with Ana Mendieta's representation of the female person body: what's similar and what'due south unlike? What do yous think these works say about women together? Look deeper into second wave feminism: would you lot consider these artists or their works feminist?
Expressing the Private Lee Krasner,Imperative, 1976, oil, charcoal, and paper on canvas, Gift of Mr. and Mrs. Eugene Victor Thaw, in Accolade of the 50th Anniversary of the National Gallery of Fine art, 1991.59.one In the 1970s Lee Krasner rediscovered some of her old charcoal drawings of figures. She decided to utilise them to create collages, once once again changing her style of artmaking as she had washed repeatedly throughout her career. Krasner consistently fought for recognition in a male-dominated art world. She wanted to be seen simply as an creative person, not a woman artist. Her work does non hint at or reveal her gender. Examine the overall structure and patterns of Imperative. Where do you meet traces of figures? What adjectives would you apply to describe this work of art?
Expressing the Individual Jim Goldberg,Mary and Wayne, from Rich and Poor, 1979, gelatin silver print, Corcoran Drove (Souvenir of the Artist), 2015.19.4478 In the late 1970s and early on 1980s Jim Goldberg photographed hundreds of rich and poor residents of San Francisco. He initially focused his efforts on residents who were living temporarily in hotels, but expanded his project to include members of his art school's Board of Trustees. As part of the process, Goldberg interviewed his subjects, who and so wrote their text in their own hands to accompany the finished prints. Goldberg helped shape the commentary, ultimately serving every bit both photographer and editor. Throughout the project he confronted his own stereotypes and perceptions, and he wrote in a 1985 publication well-nigh the empathy, frustration, hope, and powerlessness he felt during the class of the project. Since then many critics have pointed out that the same inequalities between the rich and poor remain today. Why do yous recall Goldberg included text written past his subjects on the photographic prints? What touch would the works have without the text? What stories do Goldberg's works tell, and what reactions do yous have to the people he shows?
Expressing the Private Jim Goldberg,Mitzi Cohen, from Rich and Poor, 1981, gelatin silver impress, Corcoran Collection (Souvenir of the Artist), 2015.19.4480 In the late 1970s and early 1980s Jim Goldberg photographed hundreds of rich and poor residents of San Francisco. He initially focused his efforts on residents who were living temporarily in hotels, but expanded his project to include members of his art school's Board of Trustees. Equally part of the procedure, Goldberg interviewed his subjects, who then wrote their text in their own easily to accompany the finished prints. Goldberg helped shape the commentary, ultimately serving every bit both photographer and editor. Throughout the project he confronted his own stereotypes and perceptions, and he wrote in a 1985 publication virtually the empathy, frustration, hope, and powerlessness he felt during the course of the projection. Since and so many critics have pointed out that the same inequalities between the rich and poor remain today. Why do you think Goldberg included text written by his subjects on the photographic prints? What impact would the works have without the text? What stories practise Goldberg'due south works tell, and what reactions do you accept to the people he shows?
Expressing the Individual Saul Steinberg,Self-Portrait, Drawing, c. 1986/1995, black felt-tip pen on wove paper in screw-bound sketchbook, Souvenir of The Saul Steinberg Foundation, 2016.143.35.22 This cocky-portrait is from artist Saul Steinberg's sketchbook. Best known for his insightful, inventive drawings and cartoons created for the New Yorker mag, Steinberg worked in a variety of media and his work is now endemic by galleries and museums effectually the world. Steinberg referred to himself as a "writer who draws." Look closely at this self-portrait. How does this sketch reflect ideas, or fifty-fifty a story, well-nigh Steinberg? Dive deeper into self-portraiture by doing this activeness inspired past Andy Warhol'due south work.
Expressing the Individual Clarissa Sligh,She Sucked Her Thumb, 1989, cyanotype, Corcoran Drove (Gift of the Friends of the Corcoran Gallery of Art), 2015.19.4483 Similar today's personal social media accounts, family unit photograph albums typically present positive, cheerful moments in the life of a family unit, obscuring or omitting whatever troubling or shameful events. Clarissa Sligh decided to mine her family unit photo album and reconsider events from her babyhood in 1950s segregated Arlington, Virginia, a suburb of Washington, DC. She Sucked Her Pollex is from the resulting series of works called Reframing the Past. What emotions and questions does this work of art heighten for you? Consider the means in which you lot present your life online or through other outlets.
Expressing the Individual Felix Gonzalez-Torres, "Untitled" (Ross in L.A.), 1991, print on paper, countless supply, Gift of the Collectors Commission and Emily and Mitchell Rales, 2017.51.1 Have yous ever lost someone close to you? How did you make sense of your grief and loss? This work's championship refers to Ross Laycock, the partner of artist Felix Gonzalez-Torres. Laycock died from an AIDS-related illness in 1991, as did Gonzalez-Torres v years later. Like much of Gonzalez-Torres'due south work, "Untitled" (Ross in Fifty.A.) is minimal, conceptual, political, and participatory. Visitors are invited to have a piece of paper from the stack, slowly diminishing the pile of paper. Both the creative person and the museum relinquish control of the piece of work equally sheets upon sheets are dispersed to individuals. There's no mode to predict how rapidly the stack will change, what will happen to the sheets of paper afterwards they're taken, or how people will call up of them. Eventually, the museum replenishes the stack and the work begins anew. Consider the stack of paper as a stand-in for Ross's life or Gonzalez-Torres's relationship with him. How might this work of art be an allegory of love and loss?
Expressing the Individual Byron Kim,Synecdoche, 1991–present, oil and wax on lauan plywood, birch plywood, and plywood, Richard Due south. Zeisler Fund, 2009.39.1.1-560 Each panel in Synecdoche represents the peel tone of an individual: sometimes one of artist Byron Kim's friends, family members, colleagues, or neighbors, and sometimes a stranger. The work functions both as a group portrait and every bit a collection of merely painted panels in a minimal range of colors. Kim first began the piece of work in 1991 and still adds panels from time to time. The discussion "synecdoche" is defined every bit a effigy of speech in which a part of something stands in for the whole, or vice versa. Many viewers sympathize this work of art to be a political argument on race and the construct of race in the The states. What do you recollect this work might say about race and identity? What can yous learn well-nigh the individual sitters in this piece of work of art? How is it similar to or dissimilar from a traditional portrait?
Expressing the Private Lorna Simpson,Coiffure, 1991, iii gelatin silver prints and 10 engraved plastic plaques, Corcoran Collection (Gift of the Women's Committee of the Corcoran Gallery of Fine art), 2015.xix.4459 How y'all style your hair hints at how yous run across yourself and your identity. For African American women, hair care is a weighty subject field that relates to notions of beauty, politics, culture, and history. Lorna Simpson's Coiffure touches upon these themes. From left to right the images depict a woman whose hair is cutting brusk, to a circle of braided hair, to the back of an African mask. Simpson links African American hair to African rituals by depicting an actual connection link betwixt the 2 images in the form of a complect. The text beneath provides instructions for braiding hair. Simpson photographed both the woman and the mask from behind, concealing their faces. Why do you lot think she might have done that? What is your hair care ritual? How is it tied to your culture or identity?
Expressing the Private Nan Goldin,Relapse/Detox Grid, 1998–2000, 9 silvery dye bleach prints, printed 2000, Corcoran Collection (Museum Buy with funds donated past the FRIENDS of the Corcoran Gallery of Art), 2015.19.4709 How much of your personal life practise you reveal to others? How do y'all choose to share it? Nan Goldin has unapologetically photographed herself and those around her since she was a teenager in Boston. Relationships, drug utilise, habit, violence, loss, and beloved all feature in her incredibly personal work. In Relapse/Detox Grid Goldin documents her relapse into heroin use and subsequent detox at a location in Connecticut. A fellow identified every bit David H. is seen in the photographs, and Goldin appears in the upper and lower left. What strikes you nigh these photographs? What kinds of ethical dilemmas do these photographs raise for you?
Expressing the Individual Deborah Luster,Troy West, Republic of angola, Louisiana, June 11, 1999, gelatin silver print on aluminum, Souvenir of Julia J. Norrell, in Award of Claude Simard and the 25th Anniversary of Photography at the National Gallery of Art, 2014.177.3 On the right, a yellowed image shows a boyfriend standing in a field, hat in hand, side by side to a purse containing a recent harvest. On the left a list of handwritten words and acronyms inscribed on the dorsum of the image provides clues and context for the paradigm. The text reads: 92 Angola, Louisiana L.South.P. [Louisiana Country Penitentiary] Troy West d.o.c.# [Department of Corrections number] 311719 d.o.b. [date of birth] 5.sixteen.72 p.o.b. [place of birth] New Orleans entered 50.S.P. 1995 Campsite C work line 1 photo 6.xi.99 Artist Deborah Luster photographed inmate Troy West at Louisiana Land Penitentiary, ordinarily called Angola, on June xi, 1999. Due west was ane of over 1,000 inmates Luster photographed at three dissimilar prisons in Louisiana as office of the series Ane Large Self. Luster encouraged her subjects to pose as they wished, incorporating objects or a background of their own choosing. Subjects received small wallet-sized reproductions they could share with friends or family members. Examine the photo of Troy Westward. What do y'all think this photograph says most him? What do you wonder most West? In an essay she wrote about the project Luster notes that the US incarcerates more of its population than whatsoever other state in the gratuitous world, and that at the time of her essay "80-8 percent of the men who are incarcerated at Angola will die there." What does this information make you remember about? Why exercise you think Luster might have titled this project One Big Cocky? Hear Luster speak about the start of the project and almost a few of the individuals she photographed.
Expressing the Individual Carrie Mae Weems,May Flowers, 2002, chromogenic print, printed 2013, Alfred H. Moses and Fern One thousand. Schad Fund, 2014.3.1, © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York May Flowers is role of a larger project by Carrie Mae Weems chosen May Days Long Forgotten. May Day has a dual meaning here: it is the traditional celebration of leap in some cultures of the northern hemisphere, when children would dance around a maypole, besides every bit the celebration of International Workers' Twenty-four hours, instituted in honor of the Haymarket thing of 1886 in Chicago. Weems has given a nod to the spring commemoration by photographing girls dressed in flowers posing outside. She has also used a circular frame to hearken dorsum to the Renaissance, when this format was utilized for images of the Christian Madonna and child. Withal, instead of showing a mother and child, Weems chose to depict African American girls, i of whom stares out at the viewer. Weems consistently investigates issues related to gender, race, ability, and history in her works. What creative choices did she make here? Why exercise yous think she featured African American girls in this photo?
Expressing the Private John Willis,Pine Ridge, 2004, gelatin silverish impress, Souvenir of Jeanne and Richard S. Printing, 2015.130.4 John Willis beginning visited Pine Ridge Reservation, home to Oglala Lakota American Indians, in 1992. He returned regularly for years to visit friends, but has shared his hesitations nearly documenting residents as a non-Native lensman: "Knowing the critical debates, which ascend with photographers inbound the lives of indigenous people living under less fortunate circumstances, has made it difficult to allow myself to exhibit the images I brand on the Rez. . . . Among all the poverty and hardship I am drawn past the humble nature and sincere kindness of these proud people. I discover visiting them valuable and rejuvenating, for me it is rejuvenating equally a reminder of what is really important in life." Willis began to publicly exhibit the works after a Native friend suggested he use the photographs to aid family and people at Pine Ridge. How do you relate to the people shown here? How practice you remember Willis's photographs might exist helping Oglala Lakota?
Expressing the Individual Rozeal (formerly known every bit iona rozeal brown),afro.died, T., 2011, acrylic, pen, ink, marker, and graphite on birch plywood panel, Corcoran Collection (Museum Purchase with funds provided past the Women's Committee of the Corcoran Gallery of Art), 2015.19.243 Rozeal created this painting after learning virtually the 1990s trend of ganguro, in which immature Japanese women began wearing long nails, dying their hair blonde, and applying makeup to darken their skin tone. The creative person recalled, "I said, what? Why? I read further, and they were enamored with hip hop. So I said, oh! Hip hop made it to Japan (This is 1997). That's amazing! Wait. They're darkening their peel? That sucks. That'southward terrible. Why are they doing that? Don't they know how hard it is to be dark on this planet?" In response Rozeal made a work that raises questions most cultural appropriation, lawmaking switching, bureau, and beauty. afro.died, T. is a mash-upwards of hip hop, classical Japanese Kabuki theater, and Japanese ukiyo-due east imagery. Rozeal's mom took her to a Japanese Kabuki performance when she was a child, and the imagery created by all-male casts stuck with the creative person. "Dorsum and along" written in the background of the painting recalls a 1994 Aaliyah song, "Dorsum & Along," as well as the thought of switching between cultures or "codes." The woman'due south over-the-acme advent and dress reference depictions of women in hip hop culture and "female beauties" favored by artists working in 18th-century Edo, Japan. The adult female's makeup references the ganguro trend, as well equally blackface, the awarding of makeup past non-black performers to announced black. Read aloud, the title of the work sounds out "Aphrodite," the Greek goddess of love and beauty, but in written form it mentions the death of an afro. What's beautiful to you? What does this piece of work of fine art brand yous think about women in your own community and culture? Who might you want to be in dialogue with to better understand this painting?
Source: https://www.nga.gov/learn/teachers/lessons-activities/uncovering-america/expressing-individual.html
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