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from seeing is a kind of thinking

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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from TrendHunter.com

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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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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from Halcyon

VC501 – Dissertation Preperation: Anti-Consumerism and Culture

Barbara Kruger : You Are NOT YOURSELF ('83/84) - FRAGMENTED, BROKEN MIRROR, TENSION, NEGATION OF IDENTITY: Cultural Theory of schizophrenic subject (POSTMODERN) and dissolution of self

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from Patternbank

Jenya Vyguzov - The Power of Collage

“I know a 'face' where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine.” William Shakespeare, A Midsummer Night's Dream

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Identity Tapestry by Mary March. A paticipatory tapestry where participants map aspects of their identity creating this installation reflecting the complexity and interconnecting aspects of identity/ humanity.

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