Journal on Protest Art - Assignment Example

Journal Assignment on Protest Art Though F. Botero renders his creation to depict common physical traits as may well be imagined of typical prisoners, bearing gargantuan bodily structures to reflect general capability toward a criminal act, S. Crile’s pieces are closer to the real picture of Abu Ghraib prison scandal. It feels as if the colorful volumes which Botero offers the sight of prison substantiate a setting where criminals are rightfully tortured and one would somehow sense the perception of contentment that these people have had monsters in them which ought to be treated with purging or absolute punishment they deserve.

On the other hand, Crile so aligns the theme of her work to the unraveled scandal of brutish human rights violation in Abu Ghraib prison. Hers has assured having captured the actual scenes of grave physical, psychological, and sexual violence as in ‘Arranged: Naked Mound of Flesh’, ‘Crouching in Terror’, and ‘Obscene Intimacy’ in which each naked slim subject possesses both literal and abstract paleness under a smudged white complexion to stress an amount of innocence with shame, frailty, and defenselessness of character as opposed to a darker background of doom with men in full uniform, conspicuously in far greater authority. (2) In his abstract proposition, Alsoudani reveals how a mind would feel towards a concrete encounter of war in its most destructive form.

Working the similar pieces with charcoal and pastel to enhance representation of severe disorder, the audience may be drawn to magnify that distorted images are symbolic of a heightened moment of disaster. Smoke and ashes clouding the transitory human figures impact an approach to perceive the concept of destruction that eventually leads to fading whereby the living elements, as in the soldiers, lose their distinguishable features which should have been so vivid prior to the state of chaos. Alsoudani to this effect evolves the intended consequence of the theme as do Botero and Crile. (3) Banksy’s blow-up doll in prisoner’s suit occurs more of an art with undertones of activism.

It is effective in the sense that an adventure ride passes by this figure in order that further sentiments of momentary terror are roused as part of the adventure itself. The artist probably chooses Disneyland to enable a grasp of global awareness of both historical and political significance so that while Disneyland may be visualized as a form of Utopia especially for children, they ought to be exposed to and not neglect the harsh realities that still exist in other parts of the world. Perhaps one may suppose that such exhibition could be punching below the belt yet it serves the likely purpose of getting the children a point to reflect on or a mature inquisition regarding larger issues over petty ones that are overthrown anyway by every chance at fun and excitement. (4) The Forkscrew Graphics chose to imitate the graphic images based on the Abu Ghraib prison scandal to underscore the ceaseless struggle with war between U.S. and Iraq and how the impact of which is apparently deaf to the cry of justice by the helpless war captives subjected under repeated physical and psychological abuse.

According to their presentation, a distinct similarity between war and consumer culture may be drawn to converge at the idea of incessant prevalence and a territorial scope. Due to a great cause attached to the culture of consumerism and of war, neither yields to subsidence of serving to fulfill this cause which has every so often acquired political, economic, as well as social intervention of the majority in the real world. At one aspect, the way Forkscrew Graphics manages to promote war as commodity is conducted in a fashion one can be made to contemplate on the excruciating implications of power and misery in a modern society infested with technological gadgets in variable trend that tend to dissolve potentials of critical thinking. (5) Public art pieces to me are more powerful in being direct and to the point compared to the works found in galleries and museums which, in their immobility, can only afford to communicate to a number of visitors who would rather give more regard for art’s aesthetic value.

Art work displayed in public, unlike museum pieces that are less accessible, may amply influence a multitude upon campaign or endorsement of figurative and abstract objects alike. Since it is up-to-date with current events, publicized art becomes further effective in stirring a wider range of thoughts within the sphere of social consciousness that is fully engaged with the reality in several ways.