As the old saying goes, a picture is worth a thousand words. This is definitely the case when comparing the power and lasting memory of an illustration, cartoon or photo to the written word—an essay on a political or social topic. In much the same way that viewing a graph can more quickly and clearly describe the results of a survey when compared to reading a written abstract, an illustration or cartoon can convey its message more powerfully by using creative visual elements that are aimed at stirring the viewer’s emotions in a way that makes them almost palpable.
I was fortunate to stumble upon a public exhibition of illustrations by international artists last week that focused on social and political issues around the world. I’m sharing my favorites in this post.
[Apologies for not giving credit to some of the artists, but the exhibition didn’t identify the creators of each work–strange, I know! For the signed illustrations, I’ve tried to decipher the artist’s signature.]
This powerful illustration certainly fulfills its purpose of addressing the remnants of Colonialism that still negatively affect indigenous populations today, as well as the timely issue of responsible tourism. Artist: P. Kuczynski, 2009.
Actress Rachel Jones and I aboard the wardrobe truck on the set of a (horrible) horror film called “Dracula’s Widow”
Have you ever wondered why Hollywood ‘celebrities’ seem to be so out of touch with the reality that normal folks live? Well, it’s simple. They live in an alternate universe—one that’s both insular and pretty much self-regulating. That means that people in positions of power (lead actors, producers and directors) are given extreme latitude to be either their most talented and creative selves or egotistical maniacs intent on wreaking havoc on those who are vulnerable.
And make no mistake about it, there’s no shortage of bright-eyed victims who are drawn by the lure of fame and fortune and who are naively willing to do whatever it takes to reach stardom–what I perceive as being a dark and lonely place. Think of producer Harvey Weinstein and his lecherous behavior with seemingly half the female talent in the ‘business’. And by the way, it is very much a business. The Hollywood madness is arguably America’s biggest cultural export to the innocent masses around the world.
I remember being told by a friend who was teaching English in South Korea that the sitcom Friends was being used in language institutes all across that country as a classroom teaching tool. “Oh great,” I said. “Now Koreans will think that every waitress in Manhattan can afford to live in a spacious loft in Brooklyn with a drop-dead gorgeous view of the city’s skyline!” Hollywood has always prospered on fantasy, and that’s even more obvious when experienced from the inside.
I always wanted to work in ‘the arts’ (snicker, chuckle, guffaw) and so I was incredibly excited when I got a job on my first film production, Michael Cimino’s violent drama, Year of the Dragon, set in New York’s Chinatown and starring Micky Rourke. I’m not sure what I expected, but what I got was a baptism by fire.
Frida With Flowers in Her Hair, c. 1940. By Photographer Bernard Sliberstein.
I never paint dreams or nightmares. I paint my own reality.
– Frida Kahlo
It’s impossible to write about the life and work of Diego Rivera (as I did last week) without also discussing the life and work of his wife and companion Frida Kahlo who lived from 1907 to 1954. Though their work was very different in style—Rivera’s larger than life murals of Mexican history and Kahlo’s often quite discomforting gaze from her intimate self-portraits—their sense of dedication to commoners in general and Mexico’s indigenous people in particular was reflected in the art they created.
While Rivera was honored as a painter and master muralist of international renown during his lifetime, Kahlo was often simply seen as Diego’s wife–a woman who just happened to dabble in paints. By the time of her death, Kahlo had exhibited her paintings in her native Mexico City as well as in both New York and Paris. Her works were present in the private collections of some of the art world’s most prestigious patrons. Still, in her New York Times obituary, she was identified as, “Frida Kahlo, Artist, Diego Rivera’s Wife.”