Human and Animal Rights
Assessments
1. Lino Block Print
|
| ||||
2. Human/Animal Rights UNLEARN Poster/Art Work
Focus on Personal Bias ('casual' racism, sexism, classism, etc.) or Structural Inequity
| human_rights_and_art.docx |
3. Art Analysis
| art_analysis_sheet.docx |
Lino Block Printing
|
|
Human Rights Poster Exemplars
Symbols
http://www.centercrosscultural.org/2009/08/10/designmatters-mariana-amatullo-discusses-art-centers-public-outreach/
http://www.designmattersatartcenter.org/wp-content/uploads/2015/09/DPI_final_postcards.pdf
http://www.designmattersatartcenter.org/proj/human-rights-public-education-exhibition/
http://www.centercrosscultural.org/2009/08/10/designmatters-mariana-amatullo-discusses-art-centers-public-outreach/
http://www.designmattersatartcenter.org/wp-content/uploads/2015/09/DPI_final_postcards.pdf
http://www.designmattersatartcenter.org/proj/human-rights-public-education-exhibition/
Kara Walker
Karen Walker. Born in California in 1969. Artist. Professor at Rutgers University.
Few artists have confronted our nation's history of slavery and its enduring legacy of racism as powerfully as Kara Walker. The artist -- who was born in Stockton, Calif., grew up in Atlanta and now lives in New York City -- has long focused on the simple figure of the silhouette to represent the cultural role of blackness in the United States.
Unlike so much art, Walker is not interested in transcendence or distancing either artist or viewer from the world's cruelty. She instead captures the heavy horror of slavery, presenting hard-to-watch scenes from its history in ways that won't let us look away.
http://www.oregonlive.com/art/index.ssf/2012/10/silhouettes_contrast_define_ar.html
Usually associated with genteel Victorian ladies, silhouettes are used by Walker to focus the viewer’s eye on crude symbols of racial identity – black characters are picked out by their thick lips and flat noses while the white characters all have chiselled features.
“The silhouette says a lot with very little information,” Walker has said, “but that’s also what stereotype does.”
In addition to contrasting the jovial, happy style of the silhouette with horrific scenes, she hopes to make the audience complicit in her images (it’s up to us to fill in the backstory); she is hoping to bring us face to face with our own fantasies about race, sex and power.
It is this dangerous playing with racist imagery that has so inflamed Walker’s critics. Still, for every gallery that has refused to show Walker’s work, there are scores that have been delighted to promote an artist who in 2007 was ranked by Time magazine as one of the top 100 most influential people in the country.
http://www.telegraph.co.uk/culture/10314794/Southern-discomfort-artist-Kara-Walker-continues-to-shock-and-awe.html
Few artists have confronted our nation's history of slavery and its enduring legacy of racism as powerfully as Kara Walker. The artist -- who was born in Stockton, Calif., grew up in Atlanta and now lives in New York City -- has long focused on the simple figure of the silhouette to represent the cultural role of blackness in the United States.
Unlike so much art, Walker is not interested in transcendence or distancing either artist or viewer from the world's cruelty. She instead captures the heavy horror of slavery, presenting hard-to-watch scenes from its history in ways that won't let us look away.
http://www.oregonlive.com/art/index.ssf/2012/10/silhouettes_contrast_define_ar.html
Usually associated with genteel Victorian ladies, silhouettes are used by Walker to focus the viewer’s eye on crude symbols of racial identity – black characters are picked out by their thick lips and flat noses while the white characters all have chiselled features.
“The silhouette says a lot with very little information,” Walker has said, “but that’s also what stereotype does.”
In addition to contrasting the jovial, happy style of the silhouette with horrific scenes, she hopes to make the audience complicit in her images (it’s up to us to fill in the backstory); she is hoping to bring us face to face with our own fantasies about race, sex and power.
It is this dangerous playing with racist imagery that has so inflamed Walker’s critics. Still, for every gallery that has refused to show Walker’s work, there are scores that have been delighted to promote an artist who in 2007 was ranked by Time magazine as one of the top 100 most influential people in the country.
http://www.telegraph.co.uk/culture/10314794/Southern-discomfort-artist-Kara-Walker-continues-to-shock-and-awe.html
Henri Matisse
Keith Haring
| haring_symbolism.doc |
