Assessment Task 2: Art as a Social Commentator: 37439843

ART AS A SOCIALCommentator

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20 24 – Ai

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ART AS A SOCIAL COMMENTATOR Banksy

In his seminal work, "Girl with Balloon," Banksy provocatively interrogates entrenched paradigms of conflict by skillfully juxtaposing images of innocence and violence. This deliberate contrast serves to instigate a profound reassessment of societal values and the impact of conflict on children. Through the portrayal of a young girl reaching out toward a, heart-shaped balloon, Banksy offers a poignant critique of the ubiquitous presence of violence in our world, particularly its impact on the most vulnerable individuals in society. By deliberately choosing a young girl, symbolising purity and innocence, in the act of reaching for what is revealed to be a grenade, Banksy compellingly underscores the stark realities endured by children residing in regions ravaged by conflict.

The juxtaposition between the whimsical imagery of a balloon and the inherently destructive nature of a grenade serves to forcefully remind onlookers of the innocence stripped away and the immense suffering endured by children amidst the ravages of war The shredding of Banksy's artwork "Girl with Balloon" during an auction in 2018 disrupted the established systems of art production, distribution, and consumption

Banksy is an elusive street artist whose performs under an unknown. He emerged to fame in the early 2000s, earning recognition around the world for his boundary-pushing art, which surpasses traditional creative paradigms to serve as a significant commentary on modern issues in society. Born in Bristol, England, Banksy's work exemplifies the synergistic collaboration between personal experience and changes in society. Banksy's art challenges structures of power while advocating for equality in society and freedom of expression. His paintings may be seen on street walls and bridges across the world, increasing access to creative expression and allowing people to interact with his work. His use of graffiti as a form of expression is more than just an act of rebellion; it is an intended disruption of public areas, transforming them into platforms for protest and contemplation. Banksy's art goes beyond aestheticism, capturing a synthesis of philosophical enquiry and sharp critique of society, encouraging discussion and advocating transformational societal change within the field of contemporary art.

It also mirrored the ideas being presented in his artwork. Moreover, "Girl with Balloon" serves as a catalyst for viewers to reassess conventional notions of happiness and the pursuit of aspirations. It poignantly suggests that even the most ostensibly pure and optimistic dreams can be tainted by the specter of violence and conflict, thereby accentuating the precarious nature of joy and the fleetingness of aspirations within a world besieged by the ravages of warfare and anguish.

Banksy – Girl with Balloon, 2002, stencil, Waterloo Bridge, South Bank, London

ART AS A SOCIAL COMMENTATOR Banksy

Banksy’s “Napalm” print explores the harrowing reprocussions of war and the exploitation of innocence, using visceral imagery to elict a strong emotional response and inspire reflection on the societal problem of war "Napalm" is a poignant reminder of the atrocities of war, elevating the voices of the oppressed and emphasising the critical need for empathy and compassion in a world ripped apart by violence. This artwork reimagines the iconic photograph from the Vietnam War depicting a young girl, Phan Thị Kim Phúc, fleeing nude and severely burnt after a napalm strike. In Banksy's piece, he substitutes the other kids in the original photograph with familiar icons, Mickey Mouse and Ronald McDonald, of American consumer culture, representing corporate interests and cultural

imperialism Their sinister presence emphasises the commodification of violence and the exploitation of human suffering for profit through the juxtaposition of Kim screaming in agony from the Napalm burns. Through "Napalm," Banksy provides a strong critique of the military-industrial complex and Western imperialism, urging spectators to confront the harsh realities of war and question their own role in perpetuating oppressive systems. “Napalm” addresses not just the horrors of the Vietnam war, but also the US-led invasion of Iraq in 2003 The juxtaposition of one of the most horrifying photos of war with two icons of American culture emphasises the commodification of warfare. Thus, the print functions as a call to action, encouraging spectators to engage critically with the artwork and to reflect on the interconnectedness of global issues.

Mickey Mouse, Ronald McDonald and the Napalm Girl

ART AS A SOCIAL COMMENTATORAiWeiwei

Ai Weiwei is a Chinese contemporary artist recognised for his controversial and politically charged artworks that challenge traditional art forms while also serving as a philosophical enquiry and social criticism. Born in Beijing in 1957, Weiwei's art and life are inextricably tied to the social and political turmoil he experienced as an infant in China. Weiwei received international acclaim for his work, which frequently criticises the Chinese government's stance on human rights and freedom of expression, and stands as a powerful tribute to the strength of dissent and resistance in the face of tyranny and censorship. His works take several forms, including installation, sculpture, photography, and social media activism. In one of Weiwei's most well-known works, Dropping a Han Dynasty Urn (1995), he urges spectators to ponder the arbitrary nature of cultural importance and questions governments' sovereignty over cultural heritage.

ART AS A SOCIAL COMMENTATORAiWeiwei

Ai Weiwei's artwork ‘Dropping a Han Dynasty Urn’ calls into question the nature of power and the balance between protection and destruction. The various frames in the artwork of the urn destruction underline the meticulous nature of the action and underscore Weiwei's claim. The artist is daring the viewers to challenge the inevitable shattering of the urn, reflecting the inevitability of destruction.

Weiwei's purposeful shattering of the urn reflects iconoclasm, which challenges established conventions and disrupts traditional practices of devotion and worship

Furthermore, by contrasting the antique item with contemporary creative intervention, Weiwei encourages spectators to think about the continued importance of historical artefacts and their influence on modern society. The usage of fragile ceremonial urn porcelain is a metaphor for the transience of cultural artefacts and the impermanence of authority. Photography enhances the artwork by transforming a transient performance into a lasting visual record that defies interpretation and conveys conceptuality Furthermore, by leaving the images black and white, like old-fashioned monochrome photography, it paradoxically reinforces the perception that cultural and postmodern ideals are overlooked while also conveying a feeling of timelessness and ubiquity, transcending cultural boundaries Finally, Wei Wei's eye contact with the camera connects viewers and satisfies the conceptual framework by establishing a connection between the world, the artist and the audience, observing and forming subjective judgements and assessments

The art fundamentally emphasises the individual's right to criticise and challenge authority, functioning as a symbolic act of opposition to harsh regimes and arbitrary displays of power. Weiwei's artwork underscores the paradoxes inherent in China's fast modernisation and attempts to preserve its ancient history

ART AS A SOCIAL COMMENTATOR JR

Jean-René, more famously known as, JR, is the pseudonym of a French photographer and street artist born in 1983. JR's work merges art with action, exploring themes such as commitment, liberty, identity, and limits. His art is an effective form of social criticism, focusing light on urgent topics and forcing audiences to confront difficult truths about the state of society.

He states that the street is "the largest art gallery in the world."

ART AS A SOCIAL COMMENTATOR JR

JR's significant project, "Inside Out Project: The Gun Chronicles: A Story of America," looks into the tragic truth of gun violence in America, providing a moving depiction of its impact on survivors and communities. The project's title, "The Gun Chronicles: A Story of America," embodies its desire to tell the complex and deeply ingrained story of gun violence. By presenting it as a chronicle, JR highlights the problem's continuing existence and the critical necessity for society involvement and reform. JR's Integral mural, created in 2018, contains large-scale photographic portraits of individuals afflicted by gun violence, magnifying their faces and voices to humanise the artwork. This enables viewers to relate with the individuals represented in the artwork and emphasises their experiences.

JR displays his artworks in open public locations like walls or buildings, capturing the attention of passersby and providing a visually immersive experience Furthermore, JR carefully picks the settings for his works, frequently selecting areas that are particularly pertinent to the issue of gun violence, ensuring that it connects with the local population and sparks important community debates A significant feature portrayed in the mural is the visual irony of 250 diverse individuals surrounding a table mimicing a debate, ultimately shedding irony on the inefficacy of political discourse in addressing the pervasive issue of gun violence. One of the most important components of the "Inside Out Project" is its collaborative nature JR democratises creative expression by encouraging anyone to engage in its development and distribution This interactive aspect not only allows people to tell their personal stories, but it also promotes a sense of community and solidarity among individuals affected by gun violence. JR uses photography and film to capture the process of creating the installations, providing a record of the project's effect and progress. This record acts as a creative preservation, allowing the artwork to reach a larger audience outside of the museum itself and express the universal message of gun violence and its consequences on a worldwide scale

Guns Chronicles : a story of America, Integral mural, USA, 2018

ART AS A SOCIAL COMMENTATOR Guerrilla Girls

The Guerrilla Girls, a group of anonymous feminist artists, are well-known for their daring activism for gender equality in the art world, using humour and satire to confront institutional prejudices and misogyny.

ART AS A SOCIAL COMMENTATOR Guerrilla Girls

Their piece, "Do Women Have to Be Naked to Get into the Met Museum?" provides social commentary and a sharp critique of the male-dominated art establishment, shedding attention to the widespread misogyny and objectification of women in cultural institutions. The Guerrilla Girls use guerrilla methods and provocative imagery to promote critical debate about representation, power relations, and exclusionary practices in the art industry. The artwork conveys its message through powerful and eye-catching visuals. The use of huge, blocky lettering and contrasting colours brings emphasis to the piece's subject, making it difficult to overlook. The text surrounding the imagery is a question and invites the viewer to answer Their use of comedy and irony highlights the ridiculousness of gender discrepancies in art, forcing audiences to confront uncomfortable realities about systematic discrimination and injustice. The use of a reclining nude figure, which is frequently connected with traditional portrayals of women in art, acts as a visual critique of women's objectification in cultural institutions.This contrasts the way in which men are shown in art as symbols of perfection through powerful statues and portraits. By assuming the character of gorilla-masked revolutionaries, the Guerrilla Girls add an element of anonymity, challenge conventional concepts of creative authorship, and upset the existing quo, emphasising the significance of collaborative action in bringing about social change As a form of guerilla art, the artwork is frequently presented in public places like streets and subway stations, rather than regular gallery settings. This unusual technique to display challenges the art world's elitism and democratises artistic expression. This perm its the artwork to be recognised and identified by a greater group of people, strengthening the artwork's relationship with the audience and the world. Many viewers find the artwork amusing, enjoying the Guerrilla Girls' use of comedy and satire to confront significant societal concerns; nevertheless, others are outraged by the piece's rampant sexism and misogyny Overall, the wide spectrum of audience reactions to "Do Women Have to Be Naked to Get into the Met. Museum?" demonstrates the artwork's ability to provoke discussion, motivate action, and catalyse societal change.

ART AS A SOCIAL COMMENTATORBibliography

Banksy Explained. (2021, May 15). Napalm, 2004. Banksy Explained. https://banksyexplained.com/napalm-2004/ Guggenheim Bilbao. (2014). Ai Weiwei, Dropping a Han Dynasty Urn, 1995 | Guggenheim Museum Bilbao. Guggenheim Bilbao.

https://www guggenheim-bilbao eus/en/learn/schools/teachers-guides/ai-weiwei-dropping-han-dynasty-urn-1995 JR - Artist. (n.d.). JR - Artist. https://www.jr-art.net/projects/the-gun-chronicles-a-story-of-america

Manchester, E. (2004, December). “Do Women Have To Be Naked To Get Into the Met. Museum?”, Guerrilla Girls, 1989 | Tate. Tate

https://www tate org uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793

MyArtBroker (2023) Girl With Balloon by Banksy | Buy & Sell | Background & Meaning MyArtBroker

https://www myartbroker com/artist-banksy/series-girl-with-balloon