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Photography Essays - Art and Media

Using instances, discuss the partnership between art work and the media.

Introduction: The relationship between artwork and media is definitely heavily symbiotic, a fact recognized only relatively lately, with the ironic wink of "pop" art in the fifties, but still the connection is definitely present and empowering to both "high" culture and society's consumers. Consumer culture and art have invaded each other's territories to the main point where it has become impossible, sometimes, to tell them aside. The HBO tv set series, Sex and the City, for example, might be artwork reflecting life, or artwork informing life, or both, or neither - so lots of the signifiers we use to discover art, so many of the cause and impact relationships we got for granted, have grown to be indistinguishable.

On a theoretical level, the mass media has amplified imaginative causes, for better or for worse, and sometimes where bad is predicted, the mass media has been second-guessed or hijacked. On a practical level, varieties of media broadcast have much in keeping with art forms, enabling overlaps and ironic jokes, since modern technologies permit neatly replicable signal systems- the media is a hegemony, and iconography reproduces itself just about everywhere we look.

One a reaction to the standardization of imagery and the new lexicon of iconography came up in the form of Pop skill. Ironically, of course, Warhol's replicable paintings offer an iconographic currency all their own. With the 1970s pockets of subversion were appearing everywhere. Multimedia activists called it "culture jamming", the Situationist International called it "detournement" ("an insurrectional style by which a earlier form can be used to show its own inherent untruth") the Pistols called it Punk. But it was essentially the same. Culture jamming may be used to describe a broad range of subversive activity, from the work of graffiti artists to the radical 'refacement' of billboards by the Billboard Liberation Entry, to pirate radio broadcasts. It really is, essentially, an attempt to test the expert of the mass media through creative, and generally general public, acts of level of resistance.

Adbusters magazine utilizes culture jamming as its manifesto, changing it into a public movement with the brand new goal of "toppl[ing] existing vitality buildings and forg[ing] a major rethinking of the way we reside in the 21st century. " Their forceful sloganism, together with slickness of its design, boosts suspicions and criticism. This is actually the rhetoric of a salesman, and there would indeed seem to be a contradiction between its anti-advertising targets and its own image-based editorial strategies. Nevertheless this is actually the first-time that magazines have really subjectified the image, and a publication which isn't just about design but also a lovely piece of art itself, appears to sidestep the theoretical issue of hypocrisy, somehow.

"The issue of design today is that it is more fascinated by the aesthetic, as a realistic imitation or decoration, rather than by the image as a subjective narrative and interpretive aspect. Following its inner dialogue, however, the image is more than a perception. It is a necessary construction on the brink of fiction, that shows the dialectic of representation and presentation. "

Rick argues that the once homogeneous field of graphical design has "begun to split up into two specific strands". Using one side you can find professional practice in all its varieties; on the other a field which he conditions "design-culture graphics". This territory is inhabited by designers doing their own, often self-initiated thing: posting books and magazines, starting websites, and making and offering T-shirts, posters, Dvd videos, etc. He identifies Adrian Shaughnessy's observations in April 2003's Creative Review newspaper: "Stylistically most commonly it is radical, adventurous and sometimes even downright purposeless. "

The curious facet of this case is the recommendation that the split has only happened. Looking back again to Morris and Ruskin, again, we see a fantastic type of proto-punk for the middle classes, even at the convert of the century. Recently, the department became a true social cleave, somewhat than an ideological affectionate whimsy, with the new influx that implemented punk in the late 1970s. Designers such as Brody, Saville, Malcolm Garrett, Rocking Russian and 23 Envelope were so noteworthy because, not only performed they shun the mainstream where designers would once have expected to find are a matter of course, nevertheless they also produced the most inventive and durable British graphical design of the period. Their audience was other young people.

In Britain today, a vast number of young designers emerge from design classes and art schools today without intention of becoming a member of design's mainstream. Customers want expressing their individualism in their work and the idea of a small, casual collective started out by a group of friends is obviously attractive as it's sort of extension of scholar life.

Graphic design played an important role as an instrument of empowerment for those whose fringe position was less of an choice, too - it gave tone to women and articulating their concerns. The suffragette's contribution to the history of graphical design has been intriguing. Unlike the emancipatory and utopic perspective of the modernist activity, the images of the women's activity never prescribed to a unifying cosmetic dogma. When seen in conjunction with other public and counter-cultural motions that became symbolic of a certain stylistic representation, what's significant about the women's movement is its lack of stylistic unity. While this wasn't intentional strategy, it almost increased amount of resistance to commodification.

Much of today's fine art is conceptually sophisticated enough to reflect both fine art and life, often anticipating its responses. The character types in Love-making and the town, the ultimate show about and because of commodification, regularly acknowledge sociable expectation, even if it is becoming their raison d'etre to buck those expectations. When the type Charlotte expresses regrets about not working it shows that she has internalized the concept that she should work. When she accuses Miranda of judging her she exclaims,

"You imagine I'm one particular women. . . One of those women we hate who just works until she gets committed!" Here, Charlotte uncovers her own view that girls should be impartial, demonstrating that she herself is conflicted. Her statement has feminist undertones, since it implies that women who change their lives, or who are generally oriented to bringing in a spouse, sacrifice themselves and compromise their identities- appropriately, as this is exactly the fate the scriptwriters have in store on her behalf.

Charlotte's emphasis on the "choice" protection as a feminist case can be an oversimplification and a misinterpretation of liberal feminist goals, though it still promotes the critical sentiment that women are diverse, and this one woman's decision of how to proceed with her body or her life should be in her hands, in spite of what her friends, family, or contemporary society dictates. Yet, at the same time it highlights a few of the issues associated with liberal feminism as a perspective and its recurrent misappropriation by women- and perhaps, in this case, the Sex and the City scriptwriters.

Liberal feminism is dependant on the theory that variations between men and women cannot be described by biology and thus differential treatment is unjust. The idea is that individuals should be regarded as individuals, somewhat than identified first as women or men, and really should thus be able to make decisions predicated on what is best for the average person. As Montemurro has written,

"With this episode of Gender and the City, when Charlotte identifies the women's movements, she appears to be referring to the theory that girls have been "liberated" or freed from the constraints of patriarchy and have the ability to work and attain success at levels very much like those attained by men. Thus, she's the to decide for herself exactly what will make her happy and satisfied as an individual. If she chooses never to work, then she actually is not succumbing to traditional womanly expectations; rather, she actually is doing what she perceives as right on her behalf and so she should not be judged for this. "

She goes on to point out that few women be capable of make this choice. But the whole debate about choice can be located in the framework of oppression; in Montemurro's terms, "Charlotte's choice is based on other women's lack of choices". In addition, Charlotte even states that "Trey recommended" she stay at home, hinting that the idea to avoid working hasn't come immediately from her. The criticism of feminism's reactive quality is applicable here: her choice may be "her perogative" but it isn't exclusively hers, and the specific choice she's(n't) made stands for the "choice" (either to stay at home or not) that women make, with its attendant vulnerability to accusations of reactiveness and passivity. As Montemurro suggests, Charlotte's powerful, wealthy man has delivered the option to her "as a gift idea of sorts, as though to state, "I give you permission to stay home, " and Charlotte fails to recognize that her choice is made possible only by her succeeding economic reliance on her partner. "

Charlotte's statement that "the girl movement is approximately choice" is played as distastefully comical, distasteful not least because the scriptwriters are conveying one of two equally dangerous communications. Either they are simply interacting they notion that it's sufficient lipservice to feminism to give these issues crass and simplistic treatment, or they are really expressing Charlotte's captivating naivety through the incidental note of a "feminist" token. It is as if she believes that any choice- motherhood, career, or going for a cooking class, is of equal value, because the decision is via herself. It is a claim made cynically by the press and promoters, specifically made to manipulate women who imagine themselves to be 3rd party into buying products that charm to their vanity- products sold on visual representations of self-indulgence, reselling the irresistible idea that women are wallowing in low self-worth and deserve to "treat themselves. "

Women's liberation has become suspect precisely for this reason bastardization: the theory that "free choice" includes "bad selections", that female freedom is the same as justified narcissism.

Increasingly products, weight loss and fashion have been artificially shown as assists to a deserving woman's betterment, taking "feminist" ideas of "improvement" as their selling point- yet feminists agree that all such strategies only help women to take part in their building as subservient, imperfect, and generally oppressed. Her infertility is treated with same amazing crassness, as Tara Flockhart highlights,

"The infertility of Charlotte. . . excruciatingly painful affliction, reaches first mocked by recommending that she sublimates her emotional pain in love on her behalf dog (the pet, not the man, in her life)"

Of course it is not merely feminine "issues" that happen to be levied by the marketing. Regarding to feminist musician and copy writer Laura Mulvey, the female form is still a battleground for viewing conventions, and it is a struggle where, for the most part, advertising images and aesthetic art are on the same aspect. For Mulvey, the challenge is the equivalence of the female form with desire - so long as the male body is not seen as desirable, men stay in control of desire and the activity of looking. It appears to be a commonly presented assumption that things are increasing, but I will suggest, the male person is more prominently "objectified" by the multimedia nowadays much less a symptom of feminine control over the gaze but as a direct result of the integration of the gay male gaze into the mainstream. That is speedily overtaking the rise of women, and these sites of homosexual desire aren't swapping images of women but are showing alongside them. It really is no improvement whatsoever. Most images of attractive male bodies in the press today aren't the consequence of feminist have difficulty for equality, but merely more men, gay men, expressing their own needs in public areas.

Virtually everywhere you go in Hollywood (not to mention the internet, Tv set, magazines, the TRADITIONAL) we find Freud's idea of "scopophilia" - the pleasure involved with looking at other's bodies as erotic items. Mulvey has written extensively on enjoying conventions as she perceives those to be facilitated by the cinema auditorium itself. The darkness of the picture-house offers a unique general population environment where we may look without having to be seen either by those on display screen by other associates of the audience. Mulvey details how certain cinema viewing conditions facilitate for the audience both the voyeuristic procedure for objectification of feminine characters and also the narcissistic process of recognition with an 'ideal ego' seen on the display screen.

There would be no post-modernist skill reactions to the media, of course, minus the massively influential modernist activity that rocked the world at the flip of the century. A long time before the Sex and the City girls, modernism aimed to expose "traditional culture" as shown as something fraudulent. The exponents of the modern aimed showing that nostalgia was fallacious: the unity of the golden age had never existed. The modernists only ever before wished to present truth as it was. Since communal, political, religious, artistic ideas had been designed into this wrong order, they had to be integrated into any true reworking of computer. It was modernism that impressed upon us the idea that narrative way- a story must have a beginning, midsection and end was nothing more than an opiate, artifice grafted onto arbitrary existence to produce illusions of reliability.

Conclusions

The romantic relationship between mass media and forms of art is of course not completely co operative. The mass media has been known as the servant of capitalist society, and artwork, as the archetypal "free thought" its natural enemy. Historically, art's initiatives to bring down capitalist set ups from within have been very ill-fated, with performers finding themselves ignored, scorned, crushed or - perhaps worse- accessories to political agendas. Performers and writers must work harder than ever to devise means of opposing or exposing capitalism's deceptions, but many commentators appear to have reached the final outcome that the challenge is barely well worth struggling with. Jean Baudrillard argues that criticism of the status quo is no more possible through fine art or books and that the only useful way of dissenting from capitalist world is to commit suicide,

"Modern art desires to be negative, critical, innovative and a perpetual surpassing, as well as immediately (or almost) assimilated, accepted, included, consumed. One must surrender to the data: art no more contests anything. If it ever did. Revolt is isolated, the malediction consumed. "

Thus the avant-garde motions in Europe put the artist under great pressure to exhibit a certain personality, while also - somewhat contradictorily- being truly a producer, so that prolific, politics and reactionary a designer as you can,

"There's a lot of chat, not about reform or forcing the Enlightenment project to live up to its own ideals, but about wholesale negation, revolution, another new sensibility, now self- affirming or self-creating, rather than universalist or logical self-legitimation. This in turn suggests a greatly heightened role for the artist, the amount whose creativeness supposedly creates or figures the sensibilities of civilization".

In a sense, the avant-garde has been socially commissioned to forecast the near future, to scouting out new intellectual landscape,

"Aesthetic modernity is characterized by attitudes which find one common concentration in a changed consciousness of time. . . The avant-garde understands itself as invading undiscovered place, exposing itself to the risks of sudden, stunning encounters, conquering an up to now unoccupied future. The avant-garde must find a route in a landscaping into which nobody seems to have yet ventured"

Modernity noticed its role as declaring its fragmentary fact, its construction, or the development of the world or idea it directed to represent. As one article writer says,

"An average modernist account will seem to start arbitrarily, advance inexplicably, and end without quality. Symbols and images are being used instead of assertions. The tone is ironic and understated-mocking of some of its personas or elements that still appear to charm to the idea of coherent reality. Alternatively, many modernist works are organised as quests for the coherence they appear to lack. As the quest is a very mythological notion, a great deal of modernist freelance writers return to and rewrite myths of the world into their works. Often the faith based on myths (such as Christianity) is apparently unveiled as a farce and a fraud-that is, as myth alternatively than objective reality. "

Without Modernism's undertake the press, its distaste with multimedia stereotypes, there would be no ironic skill varieties, and without Surrealism's great achievement, its capacity to assimilate its patterns so completely into our unconscious that its images have become a part of us, without this we'd have no impressive, delicious, advertising no self-perpetuating consumer society. It is aware our dreams, but it also is aware of our nightmares. Surrealism would be the triumphant rebellious child of modern skill, but it is the heir of capitalist culture. As one copy writer sets it,

"Historically, surrealism was an art motion of ideas that developed between World Wars I and II and was very prolific. However, today the viewers automatically accepts surrealist imagery. It's all over the place we look. One will discover surrealism in children's literature, on television, in advertisements, music videos, movies and every other form of mass media. Today a person can see types of surrealism just about everywhere without consciously noting that a person is looking at a surreal image"

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