READINGS:
Mirzoeff, How to See the World, Chapter 5
In chapter 5 of "How to See the World," Nicholas Mirzoeff discusses the idea of visual activism and how it might be applied to bring about social change. The use of images and visual media to contest prevailing narratives and develop other viewpoints on social issues is known as visual activism, according to Mirzoeff.
Mirzoeff talks on several instances of visual activism, such as the use of street art, graffiti, and murals to oppose oppressive systems and advance social justice. He also emphasizes how social media and citizen journalism play a part in producing and disseminating photographs that might spark activism and increase awareness of crucial social concerns.
According to Mirzoeff, visual activism is a potent instrument for upending established narratives and constructing new ones. He contends that visual activists can contribute to social change and advance a more just and equitable society by producing images that subvert established narratives and emphasize the experiences of underprivileged populations.
In general, chapter 5 of "How to See the World" offers a perceptive examination of the function of visual activism in advocating social change. Mirzoeff emphasizes how images may subvert established narratives and generate new ones, and she challenges readers to think about how they can utilize visual media to advance social justice and build a more just society.
John Berger, Ch 7
The topic of Chapter 7 of John Berger's book "Ways of Seeing" is how oil paintings influence our perception of both art and the outside environment. According to Berger, oil paintings have dominated Western art and shaped how we view the world because of their historical and cultural relevance.
Berger examines the historical context of oil paintings, noting that wealthy people and institutions frequently commissioned them as a way to demonstrate their rank and authority. He contends that the complex details and use of light and shadow in oil paintings give them a sense of realism that can be utilized to support social hierarchies and class differences.
In addition, Berger addresses how oil paintings are often exhibited in museums and galleries, making the case that their placement against stark white walls and separation from other works of art and cultural relics serves to further the notion that they are high art and deserving of particular consideration.
Despite these criticisms, Berger recognizes the strength and beauty of oil paintings as well as their capacity to express and capture meaning and emotion. He contends that we can better appreciate their beauty and significance if we comprehend the historical and cultural context in which they were produced.
Overall, Chapter 7 of "Ways of Seeing" provides an insightful examination of how oil paintings influence our perception of both art and the outside world. Berger urges readers to explore the cultural and historical conditions that influence our perceptions and poses questions about how we interpret and appreciate art.
WATCH:
Jaune Quick-To-See-Smith
In her studio https://www.youtube.com/watch?v=1BtEJqvhosw
The Minneapolis Institute of Art created the little documentary "Meet Jaune Quick-To-See Smith" for YouTube as a part of their "Artist Stories" series. Jaune Quick-To-See Smith, a Native American artist from the Confederated Salish and Kootenai Nation, is introduced in the video, which also features some of her work and sources of inspiration.
Smith is interviewed in the film, which offers details on her creative process and the issues she examines in her pieces. Smith talks about growing up on a reservation in Montana and how those memories have affected her art. She also discusses the value of using art as a vehicle for social change and communication, particularly in regard to problems that affect Native American communities.
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