This recent work is a reflection on the problem of our new digital world.Currently, at any stage of its creation, any idea or concept is digitally adapted.What will be retained in the future? What will happen to all of these billions of megabytes we stock on computers? In 10 years? In 500 years? Colliding the esthetic of modern minimalist Apple products with the classical architecture of the Louvre Museum, the viewer is forced to assess the question of new creation in our modern society.
- Reblogged from censu-deactivated20130103
Edward S. Curtis, The Eclipse Dance, 1910-14
From the Getty Museum:
Dance is an integral component of most cultures and very often serves as a form of religious, social, and artistic expression. The Pacific Northwest coast Kwakiutl tribe, shown here, were especially noted for their elaborate ceremonies, often involving dance.
From 1896 until 1930, Edward Curtis engaged in a project to document Native American peoples. He made more than forty thousand negatives, most of which were glass plates. He published the resulting work in a series of twenty volumes titled The North American Indian, the largest volume of which was devoted to the Kwaikutl and their customs.
- Reblogged from cavetocanvas
Whimsical street art on the corner of Swanston & Little Lonsdale Streets. #melbourne #Australia #streetart #graffiti #art
Social psychologist Efrat Tseëlon is interested in feminist readings of fashion and culture. Tseëlon argues that while the English dictionary might define the practice of wearing masks and disguise as an attempt to conceal and misrepresent, masquerade is something different. Masquerade is not about portraying something false, but rather it is a way to understand the intricacies of identity. Masquerade draws its meaning through historical context, as the meaning of how we present our ideal selves in public has changed over time. Tseëlon writes:
…disguise is meant to hide, conceal, pass as something one is not. Masquerade however is a statement about the wearer. It is pleasurable excessive, sometime[s] subversive. The mask is partial covering; disguise is full covering; masquerade is deliberate covering. The mask hints; disguise erases from view; masquerade overstates. The mask is an accessory; disguise is a portrait; masquerade is a caricature. But these distinctions are tenuous, as each also shares the attributes of the other, at least in some uses or historical contexts… Thus, whatever shade of meaning of masquerade one chooses to employ it is obvious that through a dialectic of concealing and revealing masquerade serves a critical function. It calls attention to such fundamental issues as the nature of identity the truth of identity, the stability of identity categories and the relationship between the supposed identity and its outward manifestations (or essence and appearance).
Tseëlon outlines how the cultural practice of wearing masquerade is ancient. In Western culture, masquerade can be found in the philosophical writing of Plato, who wrote about life as a puppet show. Masquerade appears in Shakespeare’s plays, where comedic situations involving masquerade allow individuals to adopt new identities and experience other genders. It is also famously personified in the annual Carnival of Venice, held in Italy. Masquerade has been used throughout Western history as a way to play around with ideas of what makes up our “true” self. Masquerade has been employed by women in particular, liberating them from restrictive gender and sexual scripts, if only for brief periods at a time.
The study of masquerade allows us to ask: is there such a thing as an “authentic” self? Do we easily transgress social norms behind the anonymity of costume, or do we mostly adhere to the rules set out for us? Who are we when we don’t have to live up to the preconceived ideas of how other people see us?
- Source: zeezeescorner