Laura Callaglion
The
illustration shows a girl making track for celebrities, by searching on the
Internet, reading a magazine and putting some poster on the wall. The image
looks busy with so many information about celebrities around her. The
celebrity-obsessed world and popular culture have long been associated with
youth. ‘Culture, especially popular culture, into the primary educational site
in which youth learn about themselves and the larger world’ (Giroux, H. A.
2000) Pop culture enable youth to understand and participate in the
representations that help to construct their identities. It affects the way
teenagers think of themselves, how they connect with others. Teenage are the
main group to follow and make pop culture and also they have a strong ability
to accept new things. Which makes the pop culture with a strong inducement
influence young people's traditional values and moral consciousness. As the
backbone of future social development, the selection and judgment of pop
culture by adolescents will also affect the development and trend of the whole
social culture.
In
addition, self-definition plays an important role in every teenager’s
maturation. Self-definition can be defined as the way you see yourself.
Celebrities can provide benchmarks with which teenagers pin their
self-definition. Popular culture is not only about media; it is about identity,
commodities and their connection with education. In fact, the study of popular
culture assists youth, and all of us, in being less constructed, more
constructing and allows us to see the obstacles in our path towards a more
democratic and egalitarian society (Reynolds, W. M. (2012),
Female role in media
Tate Modern
http://www.tate.org.uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793
This is one of thirty posters published in a portfolio entitled Guerrilla Girls Talk Back by the group of anonymous American female artists who call themselves the Guerrilla Girls. Tate’s copy is number twelve in the edition of fifty.
Since their inception in 1984 the Guerrilla Girls have been working to expose sexual and racial discrimination in the art world, particularly in New York, and in the wider cultural arena. The group’s members protect their identities by wearing gorilla masks in public and by assuming pseudonyms taken from such deceased famous female figures as the writer Gertrude Stein (1874-1946) and the artist Frida Kahlo (1907-54). They formed in response to the International Survey of Painting and Sculpture held in 1984 at the Museum of Modern Art, New York. The exhibition included the work of 169 artists, less than 10% of whom were women. Although female artists had played a central role in experimental American art of the 1970s, with the economic boom of the early 1980s in which artwork prices rose steeply, their presence in museum and gallery exhibitions diminished dramatically. Dubbing themselves the ‘conscience of the art world’, in 1985 the Guerrilla Girls began a poster campaign that targeted museums, dealers, curators, critics and artists who they felt were actively responsible for, or complicit in, the exclusion of women and non-white artists from mainstream exhibitions and publications.
Since their inception in 1984 the Guerrilla Girls have been working to expose sexual and racial discrimination in the art world, particularly in New York, and in the wider cultural arena. The group’s members protect their identities by wearing gorilla masks in public and by assuming pseudonyms taken from such deceased famous female figures as the writer Gertrude Stein (1874-1946) and the artist Frida Kahlo (1907-54). They formed in response to the International Survey of Painting and Sculpture held in 1984 at the Museum of Modern Art, New York. The exhibition included the work of 169 artists, less than 10% of whom were women. Although female artists had played a central role in experimental American art of the 1970s, with the economic boom of the early 1980s in which artwork prices rose steeply, their presence in museum and gallery exhibitions diminished dramatically. Dubbing themselves the ‘conscience of the art world’, in 1985 the Guerrilla Girls began a poster campaign that targeted museums, dealers, curators, critics and artists who they felt were actively responsible for, or complicit in, the exclusion of women and non-white artists from mainstream exhibitions and publications.
Word vomit
Liza Donnelly
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