Often, art reflects the cultural diversity of the society or community which sponsors it. Harn’s non-Western art collections, whether past or present, portray culturally diverse aspects synonymous with the Gainesville community in various ways. The diversity issues discussed in this study are gender and ethnicity. Typically, a more significant focus is placed on the position of women from ethnic minority groups in Gainesville. Several images will be discussed and analyzed in a bid to identify any correlation between the ground reality and the influence of reflection of artistic designs on the target population. In general, it can be argued that exhibitions found in Harn’s non-Western collections depict a high status of women from ethnic minority groups in Gainesville, and the pieces of creativity also impact the perceptions of the target audience regarding the diversity issues.
One of the female artists who focused their work on women from ethnic minority groups was Frida Kahlo. She is known for her eye-catching portraits that embody paintings, passion, and boldness (Kahlo and Kettenmann 18). She utilized different colors to bring out the intended meaning of her creativity. Frida’s works are part of Harn’s collections of art that characterizes feminism in the community of Gainesville. The following image represents one of the fascinating graphics designed by Frida.
Figure 1: Frida Kahlo’s self-portrait (Artstack)
In this image, Frida made a self-portrait that reflects the Mexican culture. It is vital to mention that this work demonstrates several aspects of the community of Gainesville. For instance, she aims to represent women from ethnic minority groups living in Gainesville. Besides, the portrait depicts the Mexican culture, meaning that such women do not abandon their natural way of living despite moving to a different place from their original home. In this expression, Frida chooses a different approach to represent women in the society. Most artist who make it big in the industry often project nudist theme when involving feminine figures. It is indeed a new representation of women in art as women are emulated and adored in the community.
Equally important, Liza May Post is among the incredible women artists of its time. She specializes in both art and filmmaking and has received tremendous accolades for her work. She is a remarkable artist who focuses mainly on human behavior and its psychological scopes. She uses aspects such as attitude, movements, actions alongside observation skills to highlight the message in films and photographic works. Her works are part of Han’s Collection being among the obstinate women aiming to spread messages of culture and its environment among other global subjects. Her composition is somewhat consistent due to the formal content.
Figure 2: Liz May Post, Trying, 1998.
In this photograph, May represents societal struggles within the community. The image of a woman attempting to mount the elephant represents trivial moments community members are faced with problems. The woman is the central subject as most incidents in the community affect them. Regardless of her efforts to conquer her challenge, she is in the same position. Gainesville, being a holistic community identifies with this image as issues are inevitable. One should not struggle in silence when help can be sought.
Eija-Liisa Ahtila is hailed as an adamant opposer of patriarchal dominance. She uses her skills in experimental filmmaking, photography and projection work to highlight the complexities of human experience and suffering. Her famous works are part of Han’s exhibitions and collections owing to the distinct and practical messages.
Figure 3: Eija-Liisa Ahtila, Veil of Ignorance (Edition for Parkett 68) 2003.
Ahtila’s work above is a form of contemporary art, where she strives to strike a balance between self-realization and the external environment. The image consists of a two-figure adorned in black woolen jackets. Ahtila achieves to mirroring effect of the text as it appears on the back and the front of both figures making it visible from both angles. The message in the piece addresses self-realization with regards to knowledge and ignorance. This piece can be related to Gainesville as it encourages individuals not to renounce knowledge over ignorance when dealing with different situations. For instance, women from minority groups in Gainesville
To add on, Yayoi Kusama is among the legendary artists among Han’s community. She is a contemporary artist with skills in sculpture works, films, painting, film fashion, and performance. She uses her artworks to express her feelings and relieve her of her phycological condition. Her contribution to art is unique as it does not follow the popular ideas within the industry. She integrates simple elements such as polka dots, colorful stickers, and mirrors to create the impression she desires.
Figure 4: Yayoi Kusama, Walking Piece, 1966.
In the above Kusama aims to suppress her identity as an outsider living in the United States. She uses the picture to represent the hard and cruel treatment he received from the environment. This is relatable into women from minority groups within Gainesville who face commercial alienation because of their status. Being a Japanese immigrant, Kusama expresses her deep and intimate battles as a young woman in a foreign land.
Consequently, Rineke Dijkstra is a renowned contemporary photographer owing to her unadulterated appealing portraits. Her works feature different communities as she tries to accommodate distinct aspects of human behavior. She can capture an accurate portrayal of awkwardness and self-consciences among young people. “…everything is on the surface for adolescents-all their emotions” (Dijkstra, Sandra and Jennifer 5). Her works are exhibited in the Harn Museum of Art as they capture vulnerable sides of different individuals hence making it relatable to the community.
Figure 5: Rineke Dijkstra’s Almerisa
The portraits above expose the audience to critical details as she tracks changes and developments in the subject since 1990. Dijkstra documented her life as a refugee child chronicling her tough childhood as she matured into womanhood. This intimately highlights the complex life experiences and situations the subject has encountered. One can, therefore, establish an emotional link to the portraits; which enhances empathy.
Works Cited
Artstack. Frida Kahlo Self-Portrait with Braid, 1941. https://theartstack.com/artist/frida-kahlo/self-portrait-braid-19-1. Accessed 28 November 2018.
Dijkstra, Rineke, Sandra S. Phillips, and Jennifer Blessing. Rineke Dijkstra: A Retrospective. Guggenheim Museum Publications, 2012.
Eija-Liisa, Ahtila. Veil of Ignorance (Edition for Parkett 68) 2003. Retried from: https://www.parkettart.com/editions/68-edition-ahtila.html
Kettenmann, Andrea, and Frida Kahlo. Frida Kahlo, 1907-1954: pain and passion. Taschen, 2000.
Liz, M. Post. Trying, 1998. Retrieved from: https://www.sanctuary2017.org/new-page-41/
Rineke, Dijkstra. Almerisa, 1994. Retrieved from: https://www.moma.org/explore/inside_out/2010/01/14/what-s-in-a-portrait-rineke-dijkstra-s-almerisa/
Yayoi, Kusama. Walking Piece, 1966. Retrieved from: https://www.artsy.net/artwork/yayoi-kusama-walking-piece
