Political Statements and Popular Culture Exploration 1
Political Statements and Popular Culture Exploration Using Contemporary Artists and Trends in
University of Central Florida
Political Statements and Popular Culture Exploration 2
As an art educator, it is important to develop a curriculum that addresses authentic
learning practices in the classroom. Students should be engaged in lessons that reflect
contemporary issues that are relevant to the currents student population. The following document
will focus on two different aspects of contemporary society. The two sections will concentrate on
political statements and social trends depicted in various cultures, socially, and in the media. To
elaborate on these issues, five artists and one media genre will be used to establish learning
objectives and instructional tools to enhance student learning in the art classroom. The lessons
described below are intended for students grade 9th-12th ranging from entry level students to
advanced drawing and painting students.
The following unit objective is to instruct students about political statement in the visual
arts and to teach them about how to create an image that will communicate their point of view.
Students will be involved in meaning-making in art by asserting a clear voice about their
political stance on an issue that is deemed important by each individual. Gude (2008) states that
visual artists have experimented with mixing codes and styles—creating artworks whose hybrid
nature evokes a fascinating and uncomfortable awareness. Through this unit, students will be
pushed to converse content that evokes thought and understanding about personal worldviews.
The following artists will be used as informational and visual aids in instructing students on
making meaningful images.
Understanding the ever-changing political atmosphere and how its affect on ones daily
life can be an important lesson in the visual arts classroom. Through the use of Wang Guangyi
Political Statements and Popular Culture Exploration 3
images and political views, students will create an image that incorporates text to communicate
how propaganda has an effect on contemporary society. The skills objective is to learn how to
create a composition that is clear and visually striking or appealing to the intended audience.
Also students will learn how to use color and bold lines to create emphasis in their compositions.
The content object will focus on what propaganda is and how the use of images and text together
can communicate meaning in a work of art. Guangyi images are significant due to its use of
powerful imagery and bold text that convey a message that at times went against the norms and
views of society. Gude (2008) explains the importance of that by noting that by not fitting the
mainstream normative subjectivity, artists have painstakingly constructed artistic voices without
Guangyi was born in Harbin, China in 1957 and is well known for his propaganda
images. Wang currently works and lives in Beijing, China. He is seen as one of the leaders of the
New Movement in China that started in 1989. As a contemporary artist, Wang’s work has been
termed Political Pop. In an interview with art historian Charles Merewether (2006) he states that
the ideological antagonism that exists between western culture and socialist ideology is evident.
The significance of this antagonism has more to do with issues in cultural studies than simply art
in and of itself. He used images from the Cultural Revolution and contemporary logos to
compare China’s communist history and consumerist present situation in a thought provoking
manner. To understand his work, a deeper knowledge of China’s history and its current trends in
advertising and immersion in consumer products is needed. Wang (2006) use of brand names
like Coca-Cola and Nokia in the Great Criticism (Figure 1) are explained by stating the
following: From as far back as I can remember materialism and idealism were opposites,
antonyms, even antagonistic.
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When describing Guangyi’s work it is important to first take stock of what is visually
presented. The artist use simplified depictions of the figure that is almost cartoon like. These
images are of working, military, and government people conveying a message through the
positioning of their bodies or the expressions on their faces. Then texts from popular
advertisements or products are added to the images that seem not to fit the presentation of the
figures. To further understand his work, it is important to explore the artist intentions. Therefore
teaching students to do research to enhance the content of their work will add dimension to their
end product. Wang draws a clear comparison of his countries communist past to its industrialized
current trends in his works. He forces the viewer to question what is art and how it related to
society. Also as the viewer, we have to wonder about how these images can influence our
thoughts and beliefs.
The implication for this lesson would open questioning of images and text used in
contemporary culture and how it influences ones beliefs and understanding of society. Students
would be asked to create or analyze propaganda and investigate its effects on society. The
students will have the opportunity to add content to their visual image to convey meaning to the
viewer. Each individual will be encouraged to push boundaries in order to present an image that
is provocative and expressive of personal views of the current political atmosphere. Due to the
grade level in which this lesson will be taught, some chosen topics may be sensitive and should
be handled carefully based on school policy and the maturity of the students.
In conclusion, teaching students the implication of propaganda in contemporary society
and having them apply their personal views of society will enable them to establish their own
voice in their artwork. Students will use Guangyi’s work as informational reference of the
importance of doing research to enhance the content of the image. Also students will refer to his
Political Statements and Popular Culture Exploration 5
work as a powerful example of how text and images can work together to convey clear and direct
message to the viewer about the artist’s personal point of view.
Historically, war has sparked thought provoking questions about humanity and the need
or opposition to violence. Through the use of Antoine Williams’ highly charged images that
incorporate symbolism, students will explore the effects of war and violence in society and how
it has shaped their lives and views. The skills objective for this section will explore various ways
to construct and to show expression through the use of the human figure. For content objective,
the students will learn what symbolism is and how it can be used to convey a message in a visual
format. Williams’ artwork is a significant part of this lesson because it uses both the figure and
symbolism to convey its content to the intended audience. The figures intense expressions and
the symbolic imagery work together to create a visual image that is complex and insightful.
Antoine Williams was born in Red Springs, North Carolina on February 22, 1980. He
attended the University of North Carolina and graduated in 2003. Williams currently resides in
Charlotte, North Carolina where he continues to create his artwork. This artist has used the
different networking resources such as facebook, MySpace, and blogging sites to promote his
work and his artistic vision. His most significant gallery showing to date was in 2008 at the Mint
Museum. The exhibit was titled Scene in America: A Contemporary Look at the Black Male
Image and took a look into how black men have been shown in history and contemporary
society. One of the piece exhibited is entitled I Wanna Kill Sam (Figure 2) and Williams (2008)
elaborates on this images by saying that I never thought when I first painted I Wanna Kill Sam
back in 2005 that it would be at the Mint. The piece was made out of pure anger, frustration,
Political Statements and Popular Culture Exploration 6
helplessness, and hope. Maybe that's why over the years so many people have related to this
piece. Maybe we all want to kill Sam.
When examining Williams’ artwork, it is important to recognize the way the figures and
the obvious use of symbolism are utilized in the piece. The expressive emotions, or in some
cases the lack of emotion, attracts the viewer to the piece. Then the artist incorporates various
forms of symbolism in the composition to add a deeper underlying content. For example, in the
piece Rupert's War (Figure 3), the artist depicts a man in a suit with a smug look on his face. To
enhance the image’s contextual meaning, the artist puts a television in the hands of the figure
with the words Face Towards Enemy. The television is symbolic of what’s going wrong with
society in the artist’s point of view. In essence, the face of what is wrong with society is what’s
showing on the television. Williams also goes further with his message by placing a figure
behind the television as the driving force behind the content. Essentially this figure is the creator
of the content that is delivered through the television. Yet who is to blame? Is the person who put
the programming on the television to blame for the downfall of society or does blame fall on the
masses for choosing to consume the messages projected on the screen.
The use of Antoine Williams’ work will lead to the discussion of the importance of
symbolism in political art. Too often, students rely on images that are cliché and lack real
significant meaning. Through this lesson, students will consider the power behind symbolic
images and how they can be used to enhance the content of their artwork. By using Williams’
work, one can see that the symbols used in his compositions have both personal and universal
content that speaks to the viewer in multiple ways. Students will be encouraged to include
images that have personal meaning in their work as a way to broaden their visual vocabulary.
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In conclusion, symbolism is an important tool when communicating ones views in
political art. Antoine Williams used figural expression and symbolic references to voice his
views through his body of work. Eisner (1997) states that expression was not simply a matter of
giving vent to feeling, but that it was the transformation of feeling, image, or idea into some
material. Therefore giving students the technical and contextual tools to develop a unique voice
in their artwork is essential in classroom.
Karen Fiorito—Visual Criticism
Images can be used to create visual commentary that offers unique criticism of our
societies or local communities. Karen Fiorito’s work is an excellent example of the use of visual
images to critique ones personal surroundings. The skills objective for this lesson will be to teach
the steps of art criticism: Describe, Analyze, Interpret, and Evaluate. Students will understand
and be able to apply steps to presented artwork. The content objective will be for students to
understand how visual images can serve as modes of criticizing contemporary society. This
artist’s work is important because it demonstrates a key concept Gude elaborates on in the
discussion about meaning in the visual arts. Gude (2008) explains that artworks attract multiple
interpretations and it is not the goal of interpretation to arrive at single, grand, unified, composite
interpretations. Fiorito’s artwork is significant because it connects to Gude’s idea of multiple
interpretations because students can arrive at different conclusions after critiquing her images.
Karen Fiorito is a political street artist who is originally from Philadelphia, Pennsylvania
but now resides in Los Angeles, California. She received her Bachelors of Fine Arts in
printmaking from the University of the Arts in Philadelphia and her Masters in Fine Arts in
Printmaking from Arizona State University. Fiorito is a practicing artist that exhibits nationally
and internationally and she has been featured in the following publications: Art in America, the
Political Statements and Popular Culture Exploration 8
Philadelphia Inquirer, Hustler Magazine, the LA Weekly, URB Magazine and the Seattle
Weekly. This artist also owns and manages her own printmaking studio publishing company
called Buddha Cat Press. In 2004, Fiorito received the Change, Inc. grant and in the following
year, she was awarded a grant from the Puffin Foundation.
When examination Fiorito artwork, it is important to consider the contemporary issues
facing American society. For example, in her piece Shop Til They Drop (Figure 4), the artist
criticizes society’s trend of over spending in the face of economic ruin. Today, Americans are
forced to examining their spending habits in the midst of record high foreclosures, bankruptcy,
and unemployment. Her artwork shows happy shoppers in the middle of a city at war and
crumbling in a fiery disaster. Such images lead the viewer to belief that the artist is convinced
that the figures are oblivious to the current circumstance. The consequences of society’s actions
are extremely negative, yet people are neglecting to blame or take responsibility for the results.
Fiorito (2010) states that however one feels about the subject, the fact of the matter is this: Art is
about life, and politics affects every aspect of life on this planet. Therefore she endeavors to
record life as she sees it in her artwork for the purpose of getting the viewer to examine content
she is presenting.
The implication created by this lesson allows art educators to teach the steps of art
criticisms as well as offer the students the opportunity to apply their knowledge through the use
of critical thinking skills. Students will demonstrate their understanding of description,
analyzing, interpreting, and evaluating visual forms. Through the use of Karen Fiorito’s work,
students will tackle artist intent and gain a better understanding of how visual forms can be used
to critique ones society from multiple and unique perspectives. Most of her artwork is age
appreciate and consist of topics that are accessible to the students personal experiences in their
Political Statements and Popular Culture Exploration 9
own lives. Therefore the students will have the opportunity to make authentic connections to the
presented visual examples.
In conclusion, Karen Fiorito has established a body of work that gives political criticism
of the current events happening in American society. Understanding the content embedded in her
work, will allow students to understand the artist’s voice conveyed through her pieces. Fiorito
(2010) explains her artist intent by stating: I take my art to the street in order to make my voice
heard by all people and to challenge the assumption that art and politics do not mix. Students can
also discover that an artist’s voice is an important part of showing content in their artwork too.
Popular Culture Exploration
The second unit will cover the use of popular culture in the visual arts and how authentic
instruction can be used with such content. Students will engage in investigating their own social,
ethnic, or personal cultures and how these aspects of their lives form their identities. Gude
(2008) emphasizes the idea that meaning-making is the ability to engage and entertain ideas and
images; it is the ability to make use of images and ideas to re-image one’s own life experience.
With this in mind, students will investigate the following two artists and the chosen media
critique in order to gain a better understanding of how an individual can use their personal
experience as the content for their artwork.
Leah Tinari—Cultural and Social Influences
As one reflects on the age of adolescence, it is important to address the influences that
shape an individual’s life and development. Peer pressure and media influence has a direct effect
on the students that occupy the contemporary visual arts classroom. Through the use of Leah
Tinari’s work, a different perspective will be given on the lives of the individuals that are
actively involved in contemporary popular culture. The skill objective for this section will be for
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students to learn how to grid images and enlarge them for their final piece. The image used must
focus on creating movement through the use of the figure in a composition. The content
objective will emphasize the use of personal events in a composition that gives the viewer a
unique glimpse into the student’s world. Tinari’s work is significant because it will help students
recognize their connection to contemporary culture and how it is evident in their lives.
Leah Tinari is a painter that lives and works in New York. She uses predominantly
acrylic and gouache paint on both paper and canvas. Tinari attended the Rhode Island School of
Design where she completed her Bachelor’s of Fine Art in1998. Her resume includes numerous
solo and group exhibits in various galleries in New York, Washington, D.C., and Connecticut.
This artist’s inspiration starts with photographs she records with her 35mm camera. Tinari’s
artwork is a reflection of her own life and she is offering the viewer small insights into moments
that might now be seen on a normal basis. Tinari (2008) states that her paintings are snippets of
time that capture moments and function as a visual diary to create my social realism, a
documentation of thirty-something contemporary lifestyle and behavior.
After studying Tinari’s body of work, it is evident that contemporary culture plays a role
in the scenes illustrated in each piece. As stated earlier, her work is based on pictures taken from
her own life. Many of which depict heavy partying and interaction with different types of people.
These same images could be seen on popular networking sites such as facebook or twitter in the
form of pictures taken on a cell phone or a digital camera. Tinari takes this imagery a step further
by deleting the backgrounds and placing the figures as the emphasis of the piece. The viewer is
forced to analyze the actions of the individuals in the piece and the reasoning for their behaviors.
When examining the A Little Encouragement (Figure 5), one could interpret the behaviors of the
figures in different ways. The viewer may conclude that the people in the piece are having a
Political Statements and Popular Culture Exploration 11
good time at a party. Or one could assess the scene and see that various factors are involved that
promotes the actions displayed in the piece. Are the actions of the dancing figure an expression
of mere fun or is the element of intoxication and peer pressure the driving force of the depicted
scene? Though neither conclusion is incorrect, it is important to question how popular culture
has shaped our ideas of what is fun or enjoying oneself.
When using Leah Tinari’s work as visual example in the classroom, it is important to
question how popular culture affects ones views. Would the same scenes of partying and fun be
accepted by the former generations? Or has what is seen in contemporary society molded our
views on what are acceptable modes of entertainment? Students will have to investigate their
own lives to uncover how popular culture has affected their daily lives and convey that content in
their artwork. It should be noted, that some subjects perpetuated in popular culture might be
tough issues to address in the classroom. Yet it is important to allow the students to explore the
topic while still maintaining the standards of the visual arts classroom and the rules of the school.
In conclusion, to produce active members of society, art educators must encourage
students to critically think about the society in which they live. Tinari’s work will push students
to question the message promoted in popular culture and its effects on their development as
individuals. For it is important to recognize that we are influenced daily, whether it’s positively
or negatively. Therefore, the visual arts can be used as a tool to investigate these issues in the
Recognizing and incorporating ones identity into visual images is one way of creating an
artist voice in the visual arts. Through the work of contemporary painter Kehinde Wiley, an
investigation of how personal and cultural identity can be used in art will be discovered and
Political Statements and Popular Culture Exploration 12
utilized classroom. The skill objective of the lesson will focus on the proportions of the human
figure and incorporating foreshortening to add emphasis to the composition. The content
objective for the students will be to understand the contribution art history makes to
contemporary art. Then they will create their own artwork with a historical influence and content
which reflects their own concept of personal identity. Wiley’s body of work is significant
because it puts a contemporary twist to historical subject matter. By changing the figures in the
composition, the artist has brought art history and popular culture into the forefront of
Kehinde Wiley was born in 1977 in Los Angeles, California. He currently lives and
paints in New York. Wiley earned his Bachelor’s of Fine Art from San Francisco Institute in
1999 and the continued his education at Yale University. In 2001, he received his Masters in
Fine Arts from Yale and participated in his first exhibit called Its Bigger Than Hip Hop in New
York. This artist’s work unities art history and contemporary culture from Wiley’s interactions
with individuals on the streets. While Wiley embraces hip hop culture, he also uses elements
from historical artwork to bring content to his work. Wood (2010) a journalist featured in Artnet
states that Wiley is also drawing a parallel between the garish and all-too-flashy attire and
"display of material consumption" evident in hip-hop culture and the same baroque sensibilities
that permeated European Renaissance painting. Wiley (2008) explains his current work in an
interview in Art Interview Online Magazine by stating: The most recent work I'm doing is
exploding the notion of a black American identity in my work, or a type of Afro-American
normative gauge and pushing that out into something is quite a bit more confused and
Political Statements and Popular Culture Exploration 13
When critiquing Wiley’s work, it is important to consider the artist’s stance on identity
and how his work reflects self investigation. After observing his work, it is evident that the
identity of the figure in the piece is the main focus of the work. African American men are
depicted in contemporary clothing but place in scenes or poses that historically connects to the
Renaissance and the Rococo era as seen in Sleep (Figure 6). These figures take the place of the
icons, kings, and nobility of the past, therefore the current figural images are elevated to a new
level that was not normally conceived in contemporary society.
Then it is important to recognize that the identity of the figure is changed by altering their
stance and the environment in which it viewed. The audience must contemplate the significance
of the world’s perception of people and how these conclusions may mold identity. How does
Wiley’s depiction of these men change the views of them in society? Are they seen as a
homeboy, maybe a normal person on street, or even a thug? Or are their identities changed
because the viewer must take a second look at them in a different environment. Somehow, the
combination of the past and the present challenges the viewer to consider new aspects of identity
and how ones environment shaped the individual.
When using Wiley’s work in classroom, it is important to discuss plagiarism in the visual
arts. Students must understand that it is not their work if they simply copy it from an art history
book. Rather, they must use it as inspiration for creating their own unique piece that conveys
their voice and point of view. By using Wiley’s work, students can compare how the artist took
certain aspects of historical pieces and use them to create a whole new piece that spoke to the
content that he wanted to communicate. Furthermore, Kehinde Wiley’s work is an excellent
example of how popular culture can be used to re-tell or re-create past narratives to fit today’s
Political Statements and Popular Culture Exploration 14
In conclusion, the study of art history is an important part of developing as an artist.
Through the use of Kehinde Wiley’s body of work, students will learn how to examine the
images of the past while bring the content of the work into the present. To meet the objective of
this project, students must take art history and bring it into the 21st century by bringing their
concept of personal identity and infusing it into the image. By doing this, they will essentially
establish their own content to communicate to the viewer.
Media Critique—Criticism of Social Trends
When investigating popular culture, it is important to recognize current trends and its
effects on people. To take a closer look at the trends in contemporary society, the following
section will focus on the video documentary Good Hair by actor and comedian Chris Rock. The
premise of the movie is to study hair trends in the African American community. The skill
objective of this lesson is to teach students how to use collage and mixed media techniques to
record images that reflect trends that happen in their communities in an altered book. The content
objective will focus on the students investigating trends in popular culture and then connecting
them to their everyday life. Due to the significant influence of African American hair
advertisements and the promotion of certain images in contemporary society, this media study is
important because it investigates how it has shaped a community’s identity.
The history of this issue can be traced back to slavery and the ramification can be still
witnessed to day. In the article Good Hair and Bad Hair, the author quotes President Thomas
Jefferson in reference to the difference in races: The circumstance of Superior beauty, is thought
worthy of attention in the propagation of our horses, dogs, and other domestic animals; why not
in that of man? Besides those of color…and hair, there are other physical distinctions proving a
difference in race (Davis, 2003). In this statement, Jefferson compares the beauty of Black
Political Statements and Popular Culture Exploration 15
people to that of animals; finding the texture of the animal’s hair more pleasing than that of the
African American. With such embedded contempt for this group’s features thrust upon them, it is
not surprising that individuals are constantly in search of ways to change. The question of what
is “good” or “bad” hair has been debated within the black community and the issue has sparked
the quest for physical alterations towards a quest for the ideal notion of beauty.
When analyzing this media genre, the focus falls on the effects that the investigated
subject matter has on society, and this case, the Black community. The documentary
demonstrated the important role hair played in this community as a whole and the lengths people
went to when trying to satisfy their need of having ‘good hair’. In many cases, women would pay
huge amounts of money for weaves, perms, or extensions that gave them long straight hair. In a
review of the movie, Reverend Al Sharpton (2009) states that we wear our economic oppression
on our heads. This statement reflects the concern of poverty in many Black communities in the
midst of over spending on hair and beauty products. The key issue that is raised in the
documentary is the notion that ‘good hair’ is straight hair and it reflects the texture of other racial
groups. Therefore, ones natural hair is somehow coined as ‘bad hair’ because of its rougher
texture. How did a community of people get to the point of which their own natural traits are
undesirable? As the documentary shows, many of these images of desirable hair types are
perpetuated in Hollywood, in advertisements, and by people’s embedded beliefs about
The implication of this media study will hopefully unearth various stereotypes or
trends in society that need to be addressed. Students will use images found in popular
culture as well as drawn images that reflect trends that personally applies to them in their
work in the form of collage. By observing the issues presented in Good Hair, students will
Political Statements and Popular Culture Exploration 16
draw parallels to contemporary trends and the influence they have on an individual’s
identity. Furthermore, students will also have the opportunity to learn about issues that
affect other communities or cultures.
In conclusion, ones identity can be influences by messages promoted in the media.
Such messages can alter the identity of an entire community. The matters brought forth in
the documentary forces the viewer to assess what messages are being followed from the
media. Therefore the media is a powerful tool that should be examined in the visual arts
classroom. For when we understand images and the influence they carry, we’ll be better
equipped to handle the information being forced upon us on a daily basis.
The lessons offered in this document will be assessed by a grading rubric that is
based on a scale of excellent, proficient, average, and needs improvement. This assessment
rubric will be available to the students at the beginning of the project so that objectives are
obtainable at all times. Students will then be graded on whether they have met the stated
skill and content objectives of each lesson. Finally there will be a summative evaluation at
the conclusion of each unit. The evaluation will consist of multiple choice, studio questions,
and art criticism to access student knowledge, application skills, and critical thinking skills.
Political Statements and Popular Culture Exploration 17
ARTInterview Online Magazine. (2008) Kehinde Wiley. Retrieved on November 30, 2010 from
Artnet. (2010) Retrieved on October 11, 2010 from
Artrealization. (2008) Online Gallery. Retrieved on October 11, 2010 from
Artstor. (2010) Wang Guangyi. Retrieved October 12, 2010 from
Catsoulis (2009) Look but Don’t Touch: It’s All About the Hair. New York Times. Retrieved on
November 30, 2010 from http://movies.nytimes.com/2009/10/09/movies/09hair.html.
Davis, P. (2003). Good Hair and Bad Hair: What This Seems to Say About Us. Multicultural
Education, 10(4), 39-41. Retrieved from Education Full Text database.
Eisner, E. (1997). Educating Artistic Vision. Chapter 6: Building Curriculum. 152-178.
Fiorito, K. (2010) Retrieved on October 11, 2010 from http://www.karenfiorito.com/.
Gude, O. (2008). Commentary Aesthetics Making Meaning. Studies in Art Education, 50(1), 98
Mint. (2008). Scene in America: A Contemporary Look at the Black Male Image. Retrieve on
November 28, 2010 from http://www.mintmuseum.org/.
Murray, D. (2007). Kehinde Wiley: Splendid Bodies. Nka, 90-101. Retrieved from Art Full Text
Political Statements and Popular Culture Exploration 18
National Coalition Against Censorship. (2010) Retrieved on October 11, 2010 from
Rawlings, A. (2006). PingMag. Pop and Propaganda: Chinese Posters and Wang Guangyi.
Retrieved November 28, 2010 from posthttp://pingmag.jp/2006/06/29/pop-and
Rock, C. Stilson, J. (2010). Good Hair. United States: HBO Films.
Tinari, L. (2008). Retrieved on November 1, 2010 from http://www.leahtinari.com/index.html.
The Saatchi Gallery. (2009). Retrieved October 11, 2010 from
Wiley, K. (2008). Kehinde Wiley Studio. Retrieved on November 29, 2010 from
Williams, A. (2010) Rawgoods. Retrieved on October 11, 2010 from
Yang, G., & Suchan, T. (2009). The Cultural Revolution and Contemporary Chinese Art. Art
Education, 62(6), 25-32. Retrieved from Art Full Text database.
Political Statements and Popular Culture Exploration 19
Figure 1 Wang Guangyi
Title: "Great Criticism"
Medium: Oil on Canvas
Size: each canvas is 271/2 x 23 1/2 inches
Figure 2 Antoine Williams
Title: I Wanna Kill Sam Date: 2005
Medium: mixed media on board
Size: 30" x 40"
Political Statements and Popular Culture Exploration 20
Figure 3 Antoine Williams
Title: Rupert's war
Medium: mixed media on wood
Figure 4 Karen Fiorito
Title: "Shop Til They Drop"
Size: 96" X 144"
Political Statements and Popular Culture Exploration 21
Figure 5 Leah Tinari
Title: A Little Encouragement
Medium: gouache on paper
Size: 11x15 inches
Figure 6 Kehinde Wiley
Medium: Oil on canvas
Size: 132” x 300”