Cindy Sherman playfully challenges gender expectation by playing characters based on stereotypes. Original
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Original Thomas Barbary's work is seen as surreal, so to create my surreal image I've created bubbles. In the bubbles are more photographs of the subject to show either more memories or perhaps daydreams. Appropriation
Zhang Huan’s photographic practice is undeniably linked to his cultural and political Chinese identity. A cultural identity that is very different to our western identity because of the very unique circumstances that Huan grew up in (at the bottom of the social structure, for example to a working and farming family in the country of China). Huan grew up in newly Communist country, he believes because he was an artist it made his life better. He was noticed for his talent and received a scholarship to Beijing’s Central Academy of Fine Arts where he received Soviet style of art training with a background being Chinese and growing up in China. This is because he grew up and went to university during the Cultural Revolution where China was erasing Chinese history by destroying objects, art and anything showing the previous uninterrupted Chinese history. Original For my photo, I tried to recreate the Queen of our Commonwealth, Queen Elizabeth. She is seen everyday in this country when a $5 note is passed from hand to hand. She is a symbol of our colonial history. Appropriation
Sally Mann challenges the issues of morality in contemporary society by photographing children doing things or behaving in a way beyond their age. For example, ‘Image three’, 1983-1985, from Mann’s series ‘At Twelve’ depicts two people in an uncomfortable stance. These two subjects have been directed to adopt an apparently intimate embrace. However, the female subjects body language suggests a lack of desire to embrace the male subject. The male subject gives us a sense of unease by his grubbiness and a lot larger size compared to the female. Original Appropriation
Original In this photograph by David LaChapelle parts of the photographic series 'Jesus us My Home Boy', 2003 uses appropriations and Hyper Real Photographic techniques to challenge immorality in the 21st century by showing a prostitute being arrested because her job is considered immoral in today's society and always has. In this image the police are arresting her. This appropriated from a scene in the Bible where a woman has committed adultery and Jesus interferes and says whoever has not sinned can throw the first stone, when people are about to punish her. As everyone has sinned and made a mistake in the past they are all guilty. Appropriation
Original Dorothea Lange's photograph 'Migrant Woman', 1936 documents to ordinary experience of many migrants to America during the Great Depression. The Great Depression was one of the largest economic disasters in recent modern history. Lange's image shows how much the Great Depression impacted the average person in America by showing a mother who is suffering and her children who are as well. We know that these people immigrants and in this photo you can see that they're living tough lives without enough money to buy clothes or food. These people have come from a very depressed country to another thinking they would find opportunity. The migrant woman in this photograph shows the way people were living in the Great Depression, the children are leaning on their mother, apparently there are five other children she mothers. The way they lean into her shoulders shows the desperation and dependency they have on her and her expression shows she's stoic despite the unknown future for her and her large family. Appropriation Timewarp, Nielson Park, 16 October 2016.
Abdul brings in his viewers with juxtapositions, we all know the difference between Nationalists supporting reclaim Australia and Muslims. He uses the common tattoo signature to an Australian Nationalist the Southern Cross and places the crescent moon which is recognisable to Muslim culture. This simple strategy really captures the viewers attention by using two groups so incompatible on one body. In another series he uses an ape mask on the man in Muslim clothing, to create something into a monster or something we don't understand. Something we don't understand is very much the reality to some who live in fear after 9/11's new generalisation of Muslims. Original
Shirin Neshat metaphorically uses her body as a 'canvas' to portray how her own cultural identity informs how she responds to the world around her. For example, the highly styled calligraphy reflects her Arabic background. Neshat's deliberate choice to include this highly stylised calligraphy creates an uncomfortable tension between herself and her Western audience because her Western audience is not only unable to understand the Arabic text but also associates the text with an uneasy fear due to the Islamic negative attention post September 11. Neshat's body is used as a material to create her artwork and the work could not be as powerful without it. Original This is my appropriation of Neshat's photograph about identity, our photograph is a portrayal of the Statue of Liberty representing liberty. We like America are believed to be a country of freedom and opportunity. Appropriation
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