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In 2016, we estimate that 45.8 million people are in some form of modern slavery in 167 countries

I decided to update my research on slavery statistics as it has been a few years since I have delved in deeply into the actual facts and I was shocked and sicked to find that the initial 27 Million that the UN had predicted has now risen in 2 years to 45 Million people entrapped in some form of bondage. This spurred me to do more work and to anchor the concept firmly in slavery as this is a problem that won't just dissipate but is growing at an uncontrollable and alarming rate. I need to make sure that there is some form of factual statistic on my work for the degree show in order to convey the message in the most clear and relevant way.

Sarah Lucas- Au Naturel 1994

Lucas’ exploration of sexualisation is extremely deep and personal and something that almost anyone can relate to. The objectification of the female form has become so engrained in our culture that we need consistent reminders that in actuality it is wrong. Lucas did a lot of research around the tabloids and the infamous page 3 and how sexualisation of women was considered a normal thing. Playing on this already preconceived idea of societies obsession to sexualise everything Lucas takes everyday objects and positions them in what could be considered suggestive ways. In itself the work is entirely innocent yet due to the way in which the human mind has been manipulated into thinking what was a pair of oranges and a cucumber become a penis. Why is it that we are so obsessed with sex? The exploitation of the female form that Lucas looks at is similar to the exploitation and commodification of humans with modern day slavery. Its when people are viewed as people any more but rather a product to be exchanged for monetary value or as Lucas explores sexually.

Source Unknown

This image is extremely dark and disturbing, grotesque even and when I saw it on social media I had to document it. The rawness of the meet that has become a substitute for the flesh and the way in which it is cruddy sown together like a form of membrane leaves the viewers sickened by both the meat and the concept. Needless to say that the imagery is reminiscent of horror films such as the Texas Chainsaw Massacre and others. Although my work will not be this graphic I believe that meat is definitely a striking way to gain the viewers full attention and that is why i chose to use bacon to collage on the models face. Instead of the clean cut paper I had previously used to create a sense of censorship the bacon now did the work for me and very effectively too. I am however concerned that the image might be too crowded and I will explore more minimalistic approaches.

Matisse - The Snail 1953

What fascinates me about Matisse’s work is the way in which he interpreted form and the physical. His cut out works in particular resonate due to their sheer simplistic elegance. Matisse was very much aware of his surroundings due to his inability to move around a lot, he was often confined to his room and as such his room became his studio and his canvas. Matisse would pin up his work in such a fashion one might mistake it for a temporary fixing, however Matisse did not see it that way, despite what some might see as ephemeral Matisse viewed as permanence. This juxtaposition of opinion is intriguing due to that fact that the artist is the one who dictates how a piece should be interpreted but its up to the viewer to comply. The temporary appearance and nature of the work parallels my own in a sense as I aim to imitate design and advertising, which is a forever evolving and changing landscape, there is no permanence there.

Picasso - The Weeping Woman 1937

Picasso throughout his whole life was surrounded by political instability from the spanish republic the the second world war, yet for a long time her refuse to comment on his views. Although Picasso didn't comment directly I believe that the distress that he felt can be clearly seen throughout his literary and artistic works. The deep and bold colours with thick black linear shapes create works that are a mutation of reality a dystopian view of the world. The weeping woman in particular can be seen as a distress call from Picasso as an artist, the pain and anguish and perhaps even rage he felt towards a pointless and torturous war. Picasso surrounded himself with politically polarising people so it might seem strange to think that he kept many of his views to himself unless directly asked. Picasso adopted the view that perhaps an artist should observe rather than speak and in such a way could accurately document the mental landscape of the time.

This is unedited raw footage of a bear I filmed with my cell phone. I'm not sure what kind of bear this is. Watch Full Episodes: http://asw.im/5Dk9vG SUBSCRI...

Unedited Footage of a Bear | Alan Resnick & Ben O’Brien

Unedited footage of a bear is a short film that played on TV in the USA as a regular advert commencing with footage of a wild bear before fading out and being overrun by a commercial for a Fever treatment. The advertisements gets darker and more twisted as the 10 minute long short progresses. The piece is an interesting take on how advertising built on lies and corruption has ruined our natural world. The brown bear is one of the USA’s most iconic mammals yet it is drowned out by this advertisement, commenting on the consumerist nature of the modern day USA. The film is alarming as it hits so close to home the advertisement gets longer and pushes its boundaries and becomes terrifying towards the end. The main character within the film is beaten by another form of her self, perhaps the self that she cannot control. The self that lies under the facade of cheeriness that we first met in the film.

Trip to The Tate Modern (works by Gerard Richter and Lorna Simpson)

Recently I went to the Tate modern and was able to gather some primary research, or particular interest was the work of Lorna Simpson whom I am currently writing about. To be able to go and visit these works in person to feel the aura that surrounds them was incredible, an experience that a screen could never fully provide. Also to physically see the scale of the work was interesting, in Twenty Questions : A Sampler Simpson arranged the images at eye level, forcing the viewer to confront the subject matter face on only to be met by the rejection of a head looking in the other direction. This way of playing with the viewer is something that had not occurred to me until I went to see the works in person.

Bibliography

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Jenny Holzer: Softer Targets — Hauser & Wirth Somerset In-text: (Somerset and Somerset, 2016) Somerset, H. and Somerset, W. (2016). Jenny Holzer: Softer Targets — Hauser & Wirth Somerset. [online] Hauserwirthsomerset.com.   Available at: http://www.hauserwirthsomerset.com/exhibitions/jenny-holzer-softer- targets-20150712   [Accessed 12 Nov. 2016]. STEYN, J. Other than identity: The Subject, Politics and Art In-text: (Steyn, 1997) Steyn, J. (1997). Other than identity: The Subject, Politics and Art. 1st ed. Manchester: Manchester University Press, pp.169-230. TANI, E., BACKUS, J. AND JENE-FAGON, O. Can Art Change the Future for Racial and Ethnic Identity? A Roundtable Discussion In-text: (Tani, Backus and Jene-Fagon, 2011) Tani, E., Backus, J. and Jene-Fagon, O. (2011). Can Art Change the Future for Racial and Ethnic Identity? A Roundtable Discussion. [online] Artsy.   Available at: https://www.artsy.net/article/the-art-genome-project-can-art-change-the- future-for-racial-and   [Accessed 15 Oct. 2016]. TYLER (DREAD SCOTT), S. On the Impossibility of Freedom in a Country Founded on Slavery and Genocide | Dread Scott In-text: (Tyler (Dread Scott), 2014) Tyler (Dread Scott), S. (2014). On the Impossibility of Freedom in a Country Founded on Slavery and Genocide | Dread Scott. [online] Dreadscott.net.   Available at: http://www.dreadscott.net/works/impossibility-of-freedom/   [Accessed 7 Oct. 2016]. VISUAL ARTS Barbara Kruger: Feminist Graphic Designer In-text: (Visual-arts-cork.com, 2016) Visual-arts-cork.com. (2016). Barbara Kruger: Feminist Graphic Designer. [online] Available at: http://www.visual-arts-cork.com/famous-artists/barbara-kruger.htm [Accessed 10 Dec. 2016].

WALDMAN, D. AND HOLZER, J. Jenny Holzer In-text: (Waldman and Holzer, 1989) Waldman, D. and Holzer, J. (1989). Jenny Holzer. 1st ed. New York, N.Y.: Abrams. WALDMAN, D. AND HOLZER, J. Jenny Holzer In-text: (Waldman and Holzer, 1997) Waldman, D. and Holzer, J. (1997). Jenny Holzer. 1st ed. New York: Solomon R. Guggenheim Museum. WHITE CUBE. Artist | White Cube, Andreas Gursky In-text: (White Cube, 2008) White Cube. (2008). Artist | White Cube. [online] Whitecube.com.   Available at: http://whitecube.com/artists/andreas_gursky/   [Accessed 13 Nov. 2016].

THE DISUNITING OF AMERICA; Reflections on a Multicultural Society | Arthur M. Schlesinger Jr.

Within Arthur M. Schlesinger Jr.’s writings he starts by discussing the current state of America and the growing racial tensions. Schlesinger attributes this to ancient humanistic tribal instinct, where as people are naturally draw to people who are similar to themselves. Schlesing also introduces the theme of globalisation dn how that adds to the tensions between races:

The hostility of one tribe to another is among the most instinctive human reactions. Yet the history of our planet has been in great part the history of mixing peoples. Mass migrations   have produced animosities from the beginning of time. (Schlesinger, 1998 : 12)

As the world strives for a more diverse and universally accepted image, people’s idiosyncratic nature suddenly feels scarily ephemeral and under threat. Perhaps this is why despite much of society trying to break down barriers between different people groups new devisions are formed such as groups like LGBTQ+, obviously groups such as this are not a negative impact on society and a necessary in order to create change and acceptance, just as the civil rights movement was, but the problems is due to the resistance to these groups and misinformation people get scared and that leaves a bitter taste in peoples mouths.

Notes

Even in art you are identified as artist or viewer there is no middle ground.

Identity What does that mean? (Identity politics) how does one identify? Bhabha how can you approach the theme of identity as it affects and challenges all of us. Is it an act what is our true identity? Fluid Identity Founded in nationality or ethnic group? (Bhabha relation to your surroundings?) The Disuniting of America: Reflections on a Multicultural Society. Arthur M. Schlesinger, Jr. Melting pot of cultures National Identity and Patriotism Slavery and colonialism (Bhabha Pg 7)

Artists who deal with identity Lorna Simpson Her experience in school segregation etc Divisions between East and West Coasts of USA As a black woman she felt as though she was interchangeable despite looking very different. She never wanted/ saw a need for her work to be reportage Use of repetition of text, perhaps to replicate her experience at school being invisible? Jack Hill Coffy 1973 black women as a sex object and nothing more Jenny Holzer Her work in the Guggenheim segregated the audience Religious divisions in her early life (Boris Groys Pg136) Gender divisions and political (right vs left) Upper and Lower classes The inevitability of labels and how we cannot escape. Conform to the advertising world’s techniques Competing for the attention of the audience Globalisation pushing segregation.

Gender reversal men (mystical) and women (Hard politics) ref. Jen Holzer signs Perhaps identity in regard to what is expected of you can change over time? Many male artists creating work that is more about psychology Many female artists tackling issues of the present day Language as power, women have been oppressed perhaps this explains the role reversal? Holzer ‘doesn’t want it to be a woman’s voice’ rather simply a voice that is asking the right questions

Flag for the Moon: Die Nigger | Faith Ringgold | 1969 | Oil on Canvas

Within African American art the American flag features heavily, Faith Ringgold’s is no exception. Flag for the Moon is a direct reference to the oppression and slavery that built the USA, despite the success of the Civil Rights Movement Ringgold remembers the pain of her ancestor and her own origins. Problems still remain, for example within the education system in the States there is simply not enough taught about the slave trade. Works such as Ringgold are a potent reminder that slavery is still a real issue and one that needs to stop. Works such as this prove that the pain of slavery runs deep and outlasts the generations who were directly involved.

Tout autre est tout autre

Jacques Derrida

Every other is every (bit) other

This quote although impossible to translate literally from its original language of friends denotes the conversations of we are one but not the same, yet still linked by the very fact that we are humanity. I think that this expression is the argument against segregation of any capacity we may all be different but Derrida asserts that we still are one people as a collective race.

Truisms | Jenny Holzer | 1978-87

Jenny Holzer’s Truisms are some what of a cultural phenomenon, so deeply engrained within the public arena, it has become a brand of its own. I am not sure whether Holzer anticipate the seemingly unstoppable success of Truisms, however this now cultural icon has more than achieved what Holzer intended. Holzer considers just one person reading her work a success (Holzer, 1988) so that fact that millions will have read this work is an overwhelming success. Holzer, especially in Truisms, points out the flaws in society that are too often glossed over by the government and those who have the power to do something about them. Holzer’s work challenges everyone to pause and reflect on the issues at hand such as misogyny and racism. Creating work in the public domain shatters the barrier between viewer and art, when the viewer could indeed wear the work. Much like Jaar Holzer is concerned with the state of the planet and has devoted her practice to trying to create a momentum for change.

Searching for Africa in Life | Alfredo Jaar | 1996 | Five elements, Colour prints, Face mounted on Plexiglas | 44 x 28 in.

Searching for Africa in Life is a fascinating piece of work by Alfredo Jaar, not only is it departure from the Rwanda Project but it also shows what kind of character Jaar is. Jaar self identifies as a consumer of western media, but wants to highlight the fact that the western media is a corrupt and xenophobic industry. In an effort to do such a thing Jaar realised that Africa is overwhelmingly glossed over when it comes to world news. Life a supposed world wide photojournalistic magazine during its run up until 1996 had less than 10 covers designated to the continent of Africa and of those they all focussed on either the wildlife or disease and poverty. Jaar commented saying ‘what is there no science in Africa no art or architecture?’ (Vogue Italia, 2015)

The work is an interesting commentary on how the media portray Africa and how they value it. A few years ago when the Paris attacks happened the media lapped up the Je Suis Charlie Campaign and not to say that it was bad, at all rather the opposite, but a month or two later there was a massacre at a Kenyan University and there was next to no media coverage of it yet more people died and it was done by a more prolific terrorist organisation.

An interview with Alfredo Jaar, Chilean artist and intellectual. See more on Vogue.it http://www.vogue.it/en/people-are-talking-about/focus-on/2013/11/alfred...

Notes on Documentary on Alfredo Jaar

99% Thinking 1% Making

Politics of images - study the space you exhibit in

Life magazine photo journalism ARTIST: Alfredo Jaar - Searching for Africa in Life Only interested in disease and nature -no art -no science -no architecture Newseek -no covers until the genocide reached over 1000000 deaths.

Fundamental racsim in western medias mindset

Artworks in order of mention

ART & POLITICS

Notes I took from the book titled Art & Politics

Page 44: Post colonial African modern art must be understood as engaging with politics. Notions of ‘primitivism’

Page 45: The idea of ‘Africaness’ Anti colonialism what unites modern African art. Cultural diversity. Both Africa has 11 languages Diaspora - dispersion of Jews African Diaspora - dispersion of Africans due to Slave trade Not only slavery but opened up the new world eg. the Caribbean & the USA Ernest Mancoba (African textiles) and Gerard Sekoto (Real scenes)

Page 48: African Identity beyond colonialism Negritude - philosophy, African Humanism rejects European philosophical and cultural subjects. “Césaire ‘Cahier d’un retour au pays natal” 1938 (Notebook of a return to the native country) Negritude - created and celebrated the African subject, who rejected colonialism and assimilation of white culture. Look to African culture for new notions of black identity.

Page 49: Tribal culture and identity could talk about how all life came from Africa Twins seven seven - Yoruba and their sacred beliefs

Page 51: 1939 artists advocating independence, from colonialism, moving onto surrealism Apartheid - a system of segregation in S.A ARTIST: Gavin Jantjes - A South African Colouring Book Directly addresses the ideology of the apartheid

Page 53: Institutionalised racism Frantz Fanon - 1st Psychoanalyst - self loathing of colonialist subjects Internalised colonial racist value systems - reject black culture in favour of the coloniser. I.D Cards

Page 54: Civil Rights movement - Bearden (Romare) & Lewis (Norman) Large scale paintings - document Rev. MLK Jr. and the movement.

Page 56: Bearden uses Mnemonic phrases. Charles Wilbert White - Celebrate positive images of prominent African Americans e.g. Frederick Douglass White also looked at the after math of slavery e.g. lynching White- socialist activist - links between socialism and the struggle against racism (1947) Linked to Diego Rivera (Mexican Socialist)

Page 57: Cold War - Cultural War ARTIST: Charles Wilbert White - Wanted Poster The medium perpetuating the injustice of slavery Replicating slave sales posters or missing slave posters pointing to continued prejudice and racism but also what those individuals went through.

Page 58: ‘X’ to represent Malcolm X - dehumanising legacy of slavery Renaming slaves with their owners names thus erasing their own identity. Injustice towards Africans and those of African descent. Relation between Af .Ams to their own history is difficult (exploitation and persecution in US and there I.D as Us citizens)

Page 59: US flag became prominent feature in Af Am art ARTIST: Faith Ringgold - The flag is bleeding (1967) - inequality based on race and gender ARTIST: Faith Ringgold - Flag for the Moon: Die N***** (1969) direct reference ARTIST: David Hammons - Injustice Case (1970) ARTIST: Glenn Ligon - White #1 (1995( can't actually read or discern what is said

Art works in order of mention

BORIS GROYS - Going Public

Notes I took from the book titled Going Public

Page 136: The resurgence or religion, survival of the fittest ideal, theology replaces philosophy. Darwinism, whatever provides the most hope will be the ideal that survives.

Page 137: Freedom of Faith allows this to grow.

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