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Essay / Research Paper Abstract
A 4 page research paper that describes and analyzes a fascinating work of art, which was specifically created for the Miami Art Museum (MAM), was recently on display in the MAM's 'New Work' gallery. Yinka Shonibare, MBE's 'A Flying Machine for Every Man, Woman and Child was featured at the MAM from October 31, 2008 through January 18, 2009 (MAM). This British-born artist of Nigerian heritage is well-known for his 'installation and photographs reflecting the legacy of 19th century colonialism' (MAM). Bibliography lists 4 sources.
Page Count:
4 pages (~225 words per page)
File: D0_khyshmam.rtf
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Unformatted sample text from the term paper:
Man, Woman and Child was featured at the MAM from October 31, 2008 through January 18, 2009 (MAM). This British-born artist of Nigerian heritage is well-known for his "installation and
photographs reflecting the legacy of 19th century colonialism" (MAM). Shonibares work is a "m?lange of African and European" influences, reflecting both the cultures of the colonizer and the colonized (MAM)
The installation that Shonibare created for MAM features an "idealized (Victorian) family" wearing his "wax-printed, 19th century attire" (MAM). These mannequins are headless and also riding bicycles that have
something like helicopter blades attached. These contractions are a visual reference to how Victorians might have conceptualized the possibility of human power flight. While the symbolism here immediately
conjures the idea of the Victorian urge to achieve, the "symbolic aspirations of flying" are also indicative of the "monumental efforts by thousands of refugees to reach a city of
promise" (MAM). In an interview, Shonibare commented that he associated the Victorian aspirations of flight that his installation portrays as a "metaphor for the monumental efforts made by some of
the inhabitants of Miami to reach a city which represents the promise of America" ("MAM presents"). As the figures are headless, the only visual clues to deducing the nature
of Shonibares characters via their clothing. While Victorian in style, the design for the wax fabrics originated in the Dutch colony of Indonesia and manufactured in Manchester, England prior to
being exported to Africa, where they helped to invent an "African identity through fashion" (Gersh-Nesic). In an interview, Shonibare indicated that he fully appreciated the fact that this represents a
cultural hybrid, that is, like himself, part African, part British (Gersh-Nesic). This coincides with the way in which the artist views culture, which is as an "artificial construct" (Gersh-Nesic).
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