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nevver: Tattoo You One of Zhang Huan’s most...

One of Zhang Huan’s most powerful works, Family Tree was created two years after he left China to live and work abroad, leaving behind potential persecution as well as family and friends. Dealing with issues of cultural identity, familial relationships, and self-expression, this installation creates a moving image of the isolation felt with the loss of one’s past. The artist had three Chinese calligraphers cover his face with poems, tales, tales, and family names from his homeland.

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The Rise of Mideast Contemporary Art

‘The Loss of Our Identity #6,’ 2007 by Iranian artist Sadegh Tirafkan. Picture #2 at link.

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BRAZIL: PHOTOGRAPHY: HEITOR MAGNO In this series of portraits and double exposure self-portraits, Heitor uses glitch art and pixelation to convey emotions unknown. By interfering with the image and identity, what’s left is a void—an image of what is oppressed and corrupted. In totality this is a reflection of the collective, anonymous and unstable internet cultural identity. Find Heitor and MP on Facebook here and here.

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This year we launch a new Master of Art programme in Consumption, Culture & Marketing which marks a collaboration between sociology a...

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BRAZIL: PHOTOGRAPHY: HEITOR MAGNO In this series of portraits and double exposure self-portraits, Heitor uses glitch art and pixelation to convey emotions unknown. By interfering with the image and identity, what’s left is a void—an image of what is oppressed and corrupted. In totality this is a reflection of the collective, anonymous and unstable internet cultural identity. Find Heitor and MP on Facebook here and here.

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Art of Sishir Bommakanti

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Ah Xian, Chinese Artist residing in Australia http://www.booooooom.com/2010/12/09/china-china-sculptures-by-ah-xian/

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Racism Is More Than A Race Issue, It Is Economic

Personal Identity- What makes us who we are? Culture, ethnicity, beliefs, society, family, peers, the media??

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Wangechi Mutu “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics."

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