Yinka Shonibare photography.


British artist Yinka Shonibare (b.1962) is known for exploring roles that may be generated by collective identity. In Effnik, a collaboration with the collaborator, George Gregory (b.i. 959), he skillfully USES traditional western portraits to achieve good results.
One of the series depicts a colonial portrait, reminiscent of the Reno portrait. The work features a familiar indicator of wealth and power: a writing desk with quill pens, luxurious red fabric backgrounds and large white columns.
Shonibare, however, subverts this tradition by inserting nigerian-born black people to play the great man of the 18th century. In this role, he looked at the audience with a haughty look, making Britain’s past racial dynamics uncomfortable and encouraging viewers to consider their positions.
Complex, the nature of identity change will not only resonate with Recast because of their ethnicity or nationality. This is also significant for any group that finds itself marginalized or represented by mainstream society.
In the early 1990s, American photographer kathryn opi was initially paid attention to her self-confident portrait of the San Francisco gay community, many of whom also participated in the subculture of masochism. They show that they are often half-naked, tattooed, tattooed and in the background of brightly colored studios, and she represents a shocking “anomaly”.
Sometimes it’s hard to tell the gender of her subjects, so it determines the importance of gender types and the challenge of society’s expectations of who we should be and what we should do. For her “existence and possession” series in 1991, she allowed her lesbians to wear false beards to further blur their identities.

Chinese artist Yang fudong (born in 1971) also questioned the changing nature of identity. In 2000, he took a piece called “the first intellectuals” powerful three photos (below right), one of the young, professional Chinese man in a suit and tie, standing in the middle of a main road, the background for the Shanghai skyline. With a brick in his hand, his shirt and blood on his face, it looked as if he had been attacked by an invisible killer and was overwhelmed by how to deal with it.
Why was he attacked and who was attacked? Where does he start? He was beaten by an unidentified man and his position in the middle of the road isolation confusion and frustration, a symbol of the after rapid social, political and economic change in the society to maintain an integrated sense of self and the stable value of how difficult it is. Between, on the other hand, the man faces two world feel isolated, the danger of division and torn apart – it is a tradition in his parents’ generation, and now “the first intellectuals” in the modern life of the modern world.
Photographers often comment on the cultural differences and changes, but they end up questions about the status of most of the work contains common psychological needs – strongly feel the individual self and belong to a group. “Like all of us, I’m a bit like the first intellectual,” he says. “one wants to accomplish great things, but there are obstacles in society or within. “


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