(Tutor/Professor)
(City, State)
Destruction of the national front
‘Destruction of the national front’ by Eddie Chambers is one of the artworks currently found in Tate Modern. It is essential to note that the artwork is in form of a painting, which has stood the test of time to be regarded as one of the most iconic pieces of art. A lot has been written about this piece of art. It is fundamental to note that this painting was made by a black man in reference to the national front, which was a political party affiliated to the whites. Strictly speaking, this art is a symbol of irony. In early times, Swastika was employed to mean things that were generally good. However, after the invasion of the Nazis and the white supremacy taking over, the art connote the union jack tying with the white supremacy.
Today, this art is used by many people to highlight various aspects of history that are essential. For instance, the imagery has been employed by several historians to depict how an icon broke up: the Swastika versus the Union Jack. ("'Destruction of the National Front', Eddie Chambers | Tate," n.d.). The disfiguration of the flag in itself explains the extent to which the political party (the national front) failed to be consistent in embracing the emerging trends during the times. This led to the blacks resisting the rule of the whites, consequently breaking away.
Of all the artworks selected for this study, the ‘Destruction of the National Front’ explains vividly the origin of the divisions in politics based on race and skin colour. To date, the artwork is embraced by people, far and wide, on the basis that it has played a significant role in ensuring continuity is preserved ("interview with Professor Eddie Chambers – re. his new book, ‘Black Artists in British Art: A History from 1950 to the Present’ (IB Tauris, 2014) – Museum Geographies," n.d.).
Gaddafi 3
This was a painting done by Wilhelm Sasnal. In a series of Wilhelm’s artworks through painting, Gaddafi 3 was the third and among all of them, the largest. A key factor to note is that this particular painting was made in reference to the dictator’s (Gaddafi’s) death. A keen look on the painting reveals two impressions: the corpse of Gaddafi on one hand and a set of onlookers on the other hand. Except one, all the figures of the onlookers are closely cropped, effectively rendering them anonymous; only their bodies are visible. Such was Sasnal’s creativity that he used certain aspects to bring out deeper details. The cropping of the images has both a historical and art history. In one way or the other, this technique of art evokes the way Andrea Mantegna (Fifteenth century) depicted the dead (Christ). Memorably, he dramatically foreshortened the corpse of Christ, a move that was geared towards echoing historical paintings ("Deutsche Bank - ArtMag - 69 - feature - Gate to the Present - Wilhelm Sasnal in the Haus der Kunst in Munich," n.d.).
Unlike most of other artworks, the inspiration behind Sasnal’s move to come up with this piece of artwork was based on the day to day life. Media and history also played a significant role in ensuring. Most of Sasnal’s works are films. In Gaddafi 3, for instance, the artist employed traditional mechanisms, tools and instruments to bring about the piece of art. A good example of this is by taking into consideration that Sasnal used canvas and oil to bring about this art.through painting and
Gaddafi 3 offers Sasnal the best opportunity to refer to himself as a realist, unlike many of his counterparts. As a realist artist, Sasnal employs aspects such as communication media, personal experience, music, day to day events from life challenges, the internet and other things that can be learnt from books. Because of this, he was widely accepted by people, both at home and other areas. The idea in Gaddafi 3 was to use day to day events or happenings with the aim bringing out creativity.
Because Sasnal presented himself as a realist, it would be prudent to discuss the motivation behind coming up with the painting in question. Upon Gaddafi’s death, the media and other sections portrayed the dictator’s body in a manner that can be termed to be careless. In his capacity, Sasnal was saddened and deeply hurt by the manner that the media presented the corpse. In order to restore the corpse’s dignity, Sasnal creatively cropped the onlookers so as to present the painting in the manner that he did.
On a personal reflection, one would easily argue that Gaddafi’s death was personally authored by him. There is no doubt whatsoever that he facilitated military interference in Africa. His reign as a dictator was characterized by violation and abuse of human rights, a move that saw most of his own subjects turn against him. Because of his dictatorial rule, the subjects ganged up in arms with the aim of overthrowing him from power. Later, he would be killed by rebels in a dehumanizing manner. In reference to the early statement, one can easily agree that Sasnal is a realist artist. The move to use Gaddafi’s journey to convert it to a piece of art shows the close association he has with the unfolding events in history. That said, Gaddafi 3 plays a major role in promoting art.
I am from Syria
This art scene has been termed by many to represent the Syrian rising star. Its nature is in terms of a charged portrait, which is very emotional. It was classified under the 2011 Revolution series and plays a significant role in explaining the history of Syria.
It is essential to first note that this portrait represents Syria’s political revolution which has been a subject for worldwide debate. In addition to that, the portrait is the perfect description of a revolution that did not fail; rather than one which is yet to be successful.
Part of the portrait connotes the tearing of a young child. As a matter of fact, this shows the destruction of the entire generation. Such chaos and pains, as a matter of fact, was brought about by poor leadership. A keen observation of the portrait shows that the head of the child is thrown back, making it look as painful as one can imagine. One gets the feeling that the effect is to maim the child after torturing him. Taking this portrait into context, free speech in Syria has been curtailed in the past. In one way or the other, the effect has been to boost political careers of some individuals ("Syria speaks: Art from the frontline | Prospect Magazine," n.d.).
The above-discussed arts, as a matter of fact, can be brought together to communicate a number of valuable ideas. One key characteristic they share is that they are based on reality and life events. With this being the case, it would be prudent to say that humans can learn about their history through art. The portrait and the drawings have an aspect of attraction, meaning they will achieve a common good.
References
'Destruction of the National Front', Eddie Chambers | Tate. (n.d.). Retrieved from http://www.tate.org.uk/art/artworks/chambers-destruction-of-the-national-front-t13887
Deutsche Bank - ArtMag - 69 - feature - Gate to the Present - Wilhelm Sasnal in the Haus der Kunst in Munich. (n.d.). Retrieved from http://db-artmag.de/en/69/feature/gate-to-the-present-wilhelm-sasnal-in-the-haus-der-kunst-in-muni/
'Gaddafi 3', Wilhelm Sasnal | Tate. (n.d.). Retrieved from http://www.tate.org.uk/art/artworks/sasnal-gaddafi-3-t14242
An interview with Professor Eddie Chambers – re. his new book, ‘Black Artists in British Art: A History from 1950 to the Present’ (IB Tauris, 2014) – Museum Geographies. (n.d.). Retrieved from https://museumgeographies.wordpress.com/2014/08/18/an-interview-with-professor-eddie-chambers-re-his-new-book-black-artists-in-british-art-a-history-from-1950-to-the-present-ib-tauris-2014/
Syria speaks: Art from the frontline | Prospect Magazine. (n.d.). Retrieved from http://www.prospectmagazine.co.uk/world/syria-speaks-five-artworks-from-the-frontline
