12VA Theory - Vernon Ah Kee Part 3 of 3
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Vernon Ah Kee is an Aboriginal artist known for his portraits that explore Aboriginal identity and the Aboriginal experience. In his work "Gaze", he aims to represent Aboriginal people with intelligence, emotion and depth, moving away from romanticized ideas. In his "Unwritten" portraits, Ah Kee depicts Aboriginal people without distinct facial features to represent how they were seen as less than human and denied full humanity. The portraits show Aboriginal people emerging as human but never allowed to fully be so. Ah Kee was born just before the 1967 referendum that granted citizenship to Aboriginal people, and he explores how Aboriginal people were written out of existence in the country's origins and Constitution. In "If I Was White", Ah Kee notes
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Vernon Ah Kee is an Australian Indigenous artist whose work explores Indigenous and non-Indigenous culture and issues facing Indigenous culture in a post-colonial society. He creates sensitive charcoal portraits of his family that were inspired by anthropological photos from the early 20th century, addressing the underlying racism. In later works, he focuses on his subjects' gazes to make the viewer feel uncomfortable and reposition Indigenous Australians as modern people rather than objects in a museum. His text-based works reveal the discrimination Indigenous people face in everyday life.
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Vernon Ah Kee is an Australian Indigenous artist whose work explores Indigenous and non-Indigenous culture and issues facing Indigenous culture in a post-colonial society. He creates sensitive charcoal portraits of his family that were inspired by anthropological photos from the early 20th century, addressing the underlying racism. In later works, he focuses on his subjects' gazes to make the viewer feel uncomfortable and reposition Indigenous Australians as modern people rather than objects in a museum. His text-based works reveal the discrimination Indigenous people face in everyday life.
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Vernon Ah Kee is an Aboriginal artist born in 1967 in Queensland, Australia. He is from several Aboriginal peoples and holds a Bachelor's degree in Visual Arts. Ah Kee's art practice focuses on investigating issues of race, color, and politics through monumental portraits of his family and text-based works with provocative slogans. His art critiques Australian popular culture and the Black/White divide. Ah Kee creates work dealing with issues facing Indigenous culture in a post-colonial society. He is interested in using text and typography due to its immediacy and ability to convey a message.
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- Discussions of Tibetan history and the Chinese invasion/occupation, including repression of monasteries and the nobility.
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My fascination with the Aborigines of Australia began when I was a child growing up in a small town in Colorado. I can still remember some of the images that called to me from the pages of an old National Geographic Magazine- a group of naked children playing by a stream, a solitary Aborigine walking across the desert, the eyes of an old man mysterious and calm in his dark face. These people seemed closer to nature that I, free and untroubled. Years later, after moving to Alaska, I came across a sobering account of the Australian Aborigines. Written by an Aboriginal man named J.T. Patton, the article burst my childhood fantasies about a simple, carefree life.
“Our self-respect has been taken away from us, and we have been driven towards extermination,” wrote Patton in an early issue of the Abo Call, the first Aboriginal newspaper, which he founded in 1938. “We have been called a ‘dying race’ but we do not intend to die. We intend to live, and to take our place in the Australian community as citizens with full equality. The white community must be made to realize that we are human beings, the same as themselves. We do not wish to go back to the Stone Age. We don’t want charity from the white people, we want justice. We intend to work steadily for this aim, no matter how many years it may take.”
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“I’m just an ordinary person who goes around talking to people,” she said. “I pop up here and I pop up there. I’m a member of the Bunjalung tribe on the coast of New South Wales. That’s where I come from. My mother’s totem is the possum, my father’s was the goanna lizard. My husband is the dingo. He says I talk too much.”
And Pauline is quite a talker. When we sat down to visit over lunch, she held forth in her warm voice a lively accent on everything from Aborigine Dreamtime to her own grandchildren. Her brother Cecil, she told me, helps run the Aboriginal Legal Services in Sydney. Her sons, Kenny and Shane, play the digeridoo (a musical instrument made from a hollow tree limb that makes a haunting sound) and they are going through their tribe’s tradition of initiation and manhood. I began to sense that, in one way or another, Pauline’s who family was carrying on the work begun by J.T. Patton sixty years before. Our lunch lasted seven and a half hours, a record for me. And by the time we said good bye, Pauline was insisting that I come down to Australia to visit her .
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“I’m just an ordinary person who goes around talking to people,” she said. “I pop up here and I pop up there. I’m a member of the Bunjalung tribe on the coast of New South Wales. That’s where I come from. My mother’s totem is the possum, my father’s was the goanna lizard. My husband is the dingo. He says I talk too much.”
And Pauline is quite a talker. When we sat down to visit over lunch, she held forth in her warm voice a lively accent on everything from Aborigine Dreamtime to her own grandchildren. Her brother Cecil, she told me, helps run the Aboriginal Legal Services in Sydney. Her sons, Kenny and Shane, play the digeridoo (a musical instrument made from a hollow tree limb that makes a haunting sound) and they are going through their tribe’s tradition of initiation and manhood. I began to sense that, in one way or another, Pauline’s who family was carrying on the work begun by J.T. Patton sixty years before. Our lunch lasted seven and a half hours, a record for me. And by the time we said good bye, Pauline was insisting that I come down to Australia to visit her .
D21-ELIT 46C
This document provides an overview of a class on Jean Rhys' novel Wide Sargasso Sea. It includes the class schedule, participation requirements, biographical information about Rhys, background on the Caribbean and Jamaica where parts of the story take place, and discussion questions about the novel. The class will focus on Wide Sargasso Sea and how it connects to and challenges Charlotte Bronte's Jane Eyre by providing narrative and subjectivity to Bertha Mason. Students are asked to discuss what picture of the Caribbean the novel provides compared to Bronte's England, as well as the style of the novel and how it relates to Jane Eyre.
Week 10 day 1 ewrt 1 b
This document provides an agenda and definitions for a class discussing the writers Sui Sin Far and Cherrie Moraga. The agenda includes a lecture on the two writers, an in-class writing assignment on how and why they resist the idea of passing, and a discussion of essay #4. Definitions are provided for terms like transsexuals, transphobia, persona, plot, point of view, and prose. Biographies of Sui Sin Far and Cherrie Moraga are also included.
Class 19 1 b
Here are a few key points about how Sui Sin Far challenges racial hatred and deals with ridicule in "Leaves from the Mental Portfolio of an Eurasian":
- She faces ridicule from other children who call her names like "Chinky" and mock her mixed Chinese and white heritage. This causes her confusion and shame about her identity.
- However, after seeing Chinese men in a store, she realizes she does not want to disown her Chinese identity. When other children taunt her, she proudly declares "I'd rather be Chinese than anything else in the world." This shows how she is learning to resist racial prejudice.
- The constant racial slurs like "Chinese" cause her deep pain and temptation
D21-ELIT 46C-S18
This document provides an overview and schedule for an ELIT 46C class on Jean Rhys' novel Wide Sargasso Sea. The final exam will take place on June 28 from 9:15-11:15 AM and will focus on the novels discussed since the midterm, including Wide Sargasso Sea. Students are asked to finish reading Wide Sargasso Sea for an upcoming class discussion. The document also provides biographical information about Jean Rhys and historical context about Dominica, Jamaica, and the Sargasso Sea. It discusses themes in Wide Sargasso Sea like mirroring and identities versus differences between characters.
Ke Lefa Laka Exhibition Catalogue_Lebohang Kganye_2013
Lebohang Kganye's art project explores her identity as a young Black South African woman through investigating her family history and genealogy. She traces her ancestral roots by interviewing family members and examining old family photographs. Kganye restages photos of her late mother and enacts stories of her grandfather to reconnect with family members and better understand her place in her family's history. Through this process, Kganye seeks to make sense of her identity amidst the contradictions of South Africa's history and better understand how her identity is shaped by her family and community.
3fcf2673-cf20-4f39-bc44-b89e965cb7dd
The artist created a project using 66 monarch butterflies to raise awareness about the 66,000 minors from Central America who arrived alone at the US-Mexico border in 2014 fleeing violence. She cut and hand-sewed each butterfly before hanging them in the art room. When asked to remove the installation, she found a new space in the BAIC office to continue sharing the piece. The artist uses her work to shed light on issues of apathy and violence surrounding the idea of the American Dream. She has also held forums on campus to discuss Central American violence and refugee crises.
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Louise Bourgeois was a French sculptor born in 1911 who is considered a feminist artist. Her work often explored themes of femininity, betrayal, and family dynamics. She had a gifted artistic ability from a young age, but initially focused on other fields before dedicating herself to sculpture in the 1940s. Bourgeois' idiosyncratic style was not widely recognized until later in her career, but a 1982 MoMA retrospective brought her great success. She continued creating monumental sculptures and drawings until her death in 2010 at age 98, using her art to process personal trauma and maintain her mental health.
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Jenny Holzer is an American conceptual artist known for her text-based works that explore political and social issues. She began her career as a painter but was inspired by conceptual art and changed her medium to words. Over several decades, she has projected provocative phrases onto buildings and in public spaces to stimulate discussion on topics like violence, injustice, and human rights. Her work draws from a variety of sources and she aims to confront viewers with challenging ideas in order to promote social change.
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Cindy Sherman is an American photographer born in 1954 in New Jersey. She grew up in Long Island and was not particularly artistic as a child. She began studying painting in college but became frustrated with its limitations. She switched to photography, which she felt gave her more freedom to explore ideas. Sherman's career took off after she began photographing herself in various costumes and contexts in the late 1970s, allowing her to comment on issues like women's roles. She is renowned for challenging representations of women and the nature of artistic creation through her ambiguous, character-driven self-portraits.
12VA Barbara Kruger, 2016
Barbara Kruger is an American collage artist known for her work exploring feminist theory and critiquing consumerism. She layers found photographs with text in bold red and black fonts designed as advertisements to provoke viewers into considering issues of power, control, gender, and desire. Much of her work questions social norms and power dynamics between men and women as established through patriarchal systems and the male gaze. She reveals how everything in consumerist culture can be owned or sold, including relationships and individuals' bodies.
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Julie Rrap is an Australian artist born in 1950 in Lismore, NSW. She established herself as an artist by reversing her surname "Parr" to avoid associations with her brother, the controversial artist Mike Parr. Rrap is known for her body-centric artwork incorporating photography, painting, sculpture, video, and performance art. Between 1986-1994 she lived in France and Belgium where she exhibited widely and gained international recognition. Major retrospectives of her work have been held at the Australian Centre for Contemporary Art in 1995 and the Museum of Contemporary Art, Sydney in 2007.
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This document discusses the changing depictions of male and female nudes in art over time. It addresses how gender roles were traditionally divided in the art world, with different fields dominated by men or women. It provides links to visual timelines showing how the depiction of males and females in art progressed. It discusses how society and audiences can influence subject matter and how some artists rebelled against traditional norms. One example discussed is the work of the Guerrilla Girls addressing the lack of female artists represented at the Met Museum. The document also directs readers to videos of an art critic discussing gender perspectives in art.
Your BoW, 2016
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Same Leach is an Australian contemporary artist born in 1973 in Adelaide. He currently lives and works in Melbourne. Leach draws inspiration from 17th century Dutch art in works that explore themes of science, technology, and their relationship to commerce and life. His 2009 exhibition "The Next Billion Years" featured oil and resin paintings on wood depicting scientific and technological subjects with visual metaphors. Leach's work considers how corporations and governments use science to manipulate while endangering non-human life, but also humanity's stake in technological advancement for possibilities like extending life beyond Earth.
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12VA Theory - Art and the Landscape
The document discusses how the depiction of landscapes in art has changed over time. It begins by showing examples from ancient times to the 16th century where landscapes were mainly depicted as background settings for religious or figural scenes. During the Renaissance, artists began viewing landscapes as subjects in their own right, corresponding to a growing interest in the natural world. Later, landscape artists helped depict foreign lands during periods of exploration. Realism remained popular but Impressionism introduced new styles of landscape depiction. The document examines different art movements like Expressionism, Post-Impressionism, and Surrealism and how they influenced interpretations of landscapes. Students are assigned homework to analyze a landscape artwork in terms of the movement that influenced its depiction.
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The document discusses Marcel Duchamp, a French artist who worked in painting, sculpture, and film. It provides biographical details on Duchamp and discusses some of his important works, including Fountain, a urinal he submitted as a sculpture. It also explores Duchamp's concept of readymades, where everyday objects are selected and designated as art. Duchamp is seen as pioneering conceptual art and challenging traditional notions of art through works like Fountain and L.H.O.O.Q., a modified version of the Mona Lisa. The document provides context and quotes from Duchamp on his works and their significance.
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Louise Bourgeois was a French-American sculptor born in Paris in 1911. She was raised in a family tapestry restoration business, where she helped draw missing elements. Her father had an affair with the family's English tutor, which deeply troubled Bourgeois. She later studied mathematics and art, marrying American art historian Robert Goldwater in 1938 and moving with him to New York. Bourgeois initially focused on painting and printmaking, turning to sculpture in the 1940s. Her work explored feminist themes like the role of women and contained autobiographical elements reflecting her troubled childhood. Bourgeois gained recognition late in life, with a retrospective at MoMA in 1982 boosting her confidence and career, and she continued creating and drawing up
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12VA Theory - Vernon Ah Kee Part 3 of 3
- 1. Vernon Ah Kee Gaze, Unwritten, and If I Was White
- 2. Gaze “… What I’m doing is I’m representing those images and trying to retain the gaze, ‘cause it was a gaze of endurance and persistence and intelligence and emotion and depth.” “I’m trying to establish an idea of Aboriginal that is contemporary and modern and stripped of all the romantic ideas around spirituality and virtue and the decorative Stone Age.” Source: http://www.abc.net.au/tv/messagestick/stories/s2545561.htm
- 3. Unwritten “All the portraits start from the idea that you have these formless faces on human bodies, but with no features. These are Aboriginal people, just ordinary people like me, like me family, like my friends. But the way that I’m portraying them in the drawings is how white people see us, how the country sees us. So it’s this idea that we have no eyes, no ears, no mouth, no discernable features at all. So we are dumb, in that we can’t see, can’t speak, can’t hear, and we’re held static, benign, silent and bound. So the very early ones had lines going across the face. They looked like they were emerging, but being held back, tied back, and pushed back into the surface. So they’re always becoming human, but never allowed to fully be human, never reaching that point.
- 4. Unwritten “The only aspects of humanity in the features are western. So in some of them I will emphasise a brow or the nose or cheekbones, to demonstrate this aspect of the western ideal. Like what’s happened with Christ. Underneath is a fully realised human, representing a fully realised people. See I was born three months before the referendum in 1967, and so for the first three months of my life I was a non-person. I was property of the state. The history of Aboriginal people in this country, Australia, has been a history of always becoming human. We were written out of the Constitution when it was first written. There’s the doctrine of terra nullius, which wrote us out of existence. So that’s why these drawings are unwritten. » Source: http://monablog.net/2012/08/08/interview-with-vernon-ah-kee/
- 7. If I Was White “My work is not always about sending out a message, but if it needs to be made, then you have to make sure that message is clear.” Source: http://www.theaustralian.com.au/arts/the-face-vernon- ah-kee/story-e6frg8n6-1111116855996