Other figures on the various surfaces embrace or kiss. The Maori (of Aotearoa, the ancestral land known also as New Zealand) carved wooden box above, for example, shows fourteen different scenes of bodies engaged in sensual and sexual acts, including a central scene of a face receiving a penis in their mouth while their tongue reaches out to the vagina next to it. Indigenous communities and people in the global South (those south of the Equator, including communities in many former European colonies) are reclaiming identities that have long been suppressed, often violently. Archaeology and anthropology are leading the way by introducing us to intersex and non-binary people, known now through DNA analysis and items found in burials. Global art history from the paleolithic period to the present reveals kaleidoscopic ideas about human relationships and intimacy. 1876–77, oil on canvas 154.1 x 243.5 cm (National Gallery of Art) right: Thomas Eakins, Swimming, 1885, oil on canvas, 27 3/8 x 36 3/8 in. Left: Albert Bierstadt, Mount Corcoran, c. For example, his large painting History is Painted by the Victors presents a poignant continuum of queer and trans history. He also critiques legacies of colonialism, racism, homo/transphobia in the art world more broadly and museums in particular.
His work engages with long-standing European and North American histories of art by remixing historic compositions and incorporating Native peoples as protagonists. One example is Kent Monkman, who is Cree and Scottish and identifies as two-spirit, a term used by some Indigenous folx to describe individuals who embody both masculine and feminine spirits and thus move beyond a gender binary. They often draw inspiration from art(ists) of the past in order to present a vision for the future. 3 (#99–152)Ĭontemporary artists can be advocates for inclusion and change. Reframing Art History, a new kind of textbook.With 503 contributors from 201 colleges, universities, museums, and researchĬenters, Smarthistory is the most-visited art history resource in the world.
We believe that the brilliant histories of art belong to everyone, no matter their background. Album DescriptionAt Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures. See More Your browser does not support the audio element. So even with the occasional letdown, there's a lot to be said for Rise Against pulling everything off with as much substance and strength as they do the whole way through. Essentially, The Sufferer & the Witness showcases Rise Against maturing within the realms of major-label hardcore revivalism, while still remaining relevant and exciting. The excellent "Prayer of the Refugee" jarringly alternates between plaintive guitars and weary singing to an empowered chorus and exploding rhythm section to affectingly address the plight of displaced families of war the frustrated disconnect distressing a troubled relationship is represented surprisingly well in "The Approaching Curve," with its driving use of spoken word and complementary female backing vocals. This record is basically one shout-along, mosh-worthy song after another, though the guys do throw in some interesting moments outside of continual rushes of pure adrenaline. "Injection" and "Ready to Fall" bring things back into invigorating Rise Against territory early on, while "Bricks" stands out as a vicious blast of old-school hardcore energy and power. This later happens again in songs like "Under the Knife" and the ferocious-yet-still-slightly-missing "Worth Dying For," but moments like these are, in truth, more the exception than the rule. However, "Chamber the Cartridge" doesn't quite open the record with the same acidic bite as past lead tracks, as the chorus is lacking something in its delivery to really hit a nerve. As such, Rise Against continue to muscularly confront political and personal grievances to the tune of swirling guitars, assertive rhythms, and Tim McIlrath's sandpapered vocals. With producers Bill Stevenson and Jason Livermore manning the controls this time around, the band's inner grit is aptly drawn out amid all the pit-ready choruses and fist-in-the-air, stirring lyrics. After all, the band's sincerity and passion emerge very much intact - their socially conscious approach no less pressing - and new and old fans alike should take to Sufferer with open arms. Their melodic hardcore may still sound more mainstream accessible, but this can hardly be looked at as a bad thing. The Sufferer & the Witness finds Rise Against continuing on the path begun on 2004's well-received Siren Song of the Counter Culture. Purchase and download this album in a wide variety of formats depending on your needs.