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Tagged as:
art,
Dreams for Women
Stirring up controversy is
this painting of Rihanna, post-assault, currently on display at the
World of Wonder Gallery in Hollywood, CA. The artist, Sham Ibrahim, seems trivialize the associated issue, in an interview with
E!Online:
"I thought the bruises in the police photo were interesting shapes to draw," he says. "And it was cool to color them pink and blue. Those are two of my favorite colors."
"There is no message to any of my art," he says. "It's meant to look cool hanging on your wall and that's it! I'm not into deep meanings."
Commenter
Valkyrie 23 over at the
Globe and Mail responds:
Glad he thinks that abuse and violence are something wonderful to hang on your wall. Maybe the peice [sic] would actually have merit if there were some social comment or intent behind it. This guys [sic] isn't an artist, he's an effing idiot.
Maybe it's not all bad argues commenter Misty Blue, in
her response to Valkyrie 23:
Actually, by default, or intentionally, this piece has a LOT of social comment. Just maybe not the ones you think appropriate or want to hear.
This artwork allowed you a vehicle to see how detached a lot of society is from the reality and horror of abuse [...] He may not have meant these to be the comment of the piece, but by default, he has definitely made that comment just by doing the piece the way he did in the first place.
Elsewhere, bloggers and commenters have come down on various sides of the issue: questioning
Ibrahim's talent, and labelling the painting a
publicity stunt,
weird, and
distasteful.
As unintentional social commentary, the painting may have value, as Misty Blue suggests. It certainly is provocative. Concurrently, however, it just seems tacky and insensitive, a re-victimization of Rihanna and, by association, other victims of domestic violence, especially given the artist's own related superficial commentary. But should his comments be taken at face value or can they be viewed as part of a larger artistic and cultural performance, one in which we all may be partially complicit?
Tagged as:
art
The Art Gallery of York University has just released a study called
Waging Culture: The Socio-economic status of Canadian Visual Artists. Apparently this is the first national survey of Canadian visual artists since 1993. The report paints (oooh, the puns start coming out now!) a "dismal" picture: findings indicate the average artist lost $556 dollars in 2007 on their art practice.
Here's the really interesting stuff:
"Compared to the national total labour force, artists are more likely to be female, anglophone, in a relationship, and born Canadian, and less likely to be members of a visible minority. They are overwhelmingly more likely to be highly educated, with an average of more than six years post-secondary education."
Okay. Interesting. Still mulling that over. But this is the bit that really surprised me:
The wage gap between male and female artists is significantly lower than in the labour force as a whole, a mere 10% for artists versus 36% for the total labour force. The difference in sales, however, is a full 48%.
So, let me get this straight. Compared to the average Canadian worker, artists tend to look like Margaret Atwood (if Maggie were a visual artist). And compared to the average Canadian workforce, the wage gap among artists isn't as wide. But male artists tend to make double the sales female artists do? I realize I have an advanced degree and all, but I'm having a hard time reconciling all this data. And there's more crazy stuff to put into the mix:
• Immigrant artists have higher total incomes than Canadian-born artists, if only nominally so.
• Caucasian artists have slightly higher total income than visible minority artists.
Who wants to jump in and try to get a sense of what this means? I don't even know if I should be happy or sad about all this.
Tagged as:
art,
money,
women
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