Identity: Finding Self Annette Saldana 02-27-2013 ______________________________________________________________________________ Abstract At some point in time, we begin to examine who we are.

We start to form values, ideas, and philosophies which collectively tell a story about us. Many art teachers are in tune with their sense of self. They often see the importance of individualism and what it means to share our lived experiences with the world. Teaching this concept to adolescent teens that have yet to form a true sense of self is a difficult and complex process. As an art teacher who teaches AP Studio Art, I see time after time the reoccurring issue of student readiness. I see students who have yet to learn who they are as individuals. They are expected to create artworks that are expressive, meaningful, and personal, but they are at a loss as to how to approach this task. Perhaps, the first step into helping students find themselves is to better understand what it is that makes them who they are. In this project, I will explore the ways in which personal and cultural identities shape us, why they are important, and how they can be used to convey messages in our art work. Dr. Craig Roland states that through portraits we can begin to consider how culture, popular media, race, family, gender, and place shape our personal identities and our perceptions of others. (Roland, 2005). Therefore, each section of my essay addresses ways of finding self through modern portraits of identity. Collecting Ourselves-Personal Identity Personal Identity: The persistent and continuous unity of the individual person normally attested by continuity of memory with present consciousness. (Merriam-Webster Online, n.d.). People collect, create, and save objects and images throughout their lifetime. They can help us to gain power and control in our lives by giving us a sense of individualism. By collecting things we are able to mark the transitioning of our self as time goes by. It is very much like keeping a diary, sketchbook, scrapbook, or journal. It can give the maker of such things control over the objects, experiences, and memories, and gives them a feeling of order within themselves. (Katriel & Farrell, 1991).The objects that we leave behind are ones by which we will probably be remembered by as commodities convey messages about personal identity. Oftentimes, artists gather and create artworks based on inanimate objects in a personal or meaningful way. These still life objects may reflect religious, allegorical, social, cultural,

personal, moral, or spiritual value. Artists often select items for a reason in which they may want the symbolism of the object to make a point, or the objects may hold some form of personal interest and relevance to the artist's life. (McArdle, n.d.) For instance, in many of Audrey Flacks works such as Queen she meditates on the inescapable passage of time and the impermanence of youth and beauty. Personal Belongings Self-Portrait Think: Perhaps, you collect magazine images, photographs, posters, figurines, stickers, souvenirs/objects. Those things which you keep, that you attach meaning to, are your personal artifacts. You may even keep these objects and images in a special place or space. Maybe you keep these possessions in a locker, desk, closet, purse, or book bag so that they are better protected. Begin to question why certain objects are important to you, how they empower you, and why you feel that you need them. Create: Bring in an empty shoebox and objects that you will include in your own personal still life arrangement. Bring in some three-dimensional objects, rather than all two-dimensional ones. Choose items that are treasures to you and that reveal something about your personality or beliefs. Create your own still life arrangement within your shoebox. Use medium/media of choice to create your portrait. Gender and Power-Cultural Identity Cultural Identity: The identity of a group or culture or of an individual as far as one is influenced by one's belonging to a group or culture. (Wikipedia, n.d.). Today, scholars and historians look for clues about past cultures by looking at artifacts that have been preserved. Through analysis, conclusions can be been made about gender roles, social status, and storytelling that may be depicted in body decoration. For instance, A wooden Igbo (Nigeria) female display figure, with its long neck, elegant coiffure, decorative leg bands, and fine body painting, emphasized that cultural ideals of beauty are often expressed simultaneously by more than one form of elaboration of the body. (Kreamer, 2001). The African coiffure (headdress) has long been a symbol of elite social status. Also, when looking at Egyptian history, we see that body decor was very important in defining identity as well. For example, male pharaohs would typically wear the nemes headdress and uraeus adornment and female queens had wide collared dresses, bracelets, and anklets. Visual representations of Hatshepsut range from depictions of her as a female king, physically female in form adorning

pharaonic male accoutrements, to images of her as a physically male king with a man's chest and build. (Hilliard & Wurtzel, 2009). Images of Hatshepsut can be examined in which we see a blending of both male and female symbols of power. A further glimpse into the biography of Hatshepsut reveals the message that she used both male and dual-gendered imagery to reinforce her societal position. By analyzing portraits of the elite during the Middle Ages, historians conclude that women were depicted as powerless as their roles in society were limited. Portraits would include symbolism and metaphors to further insinuate the importance of the passive female. A woman with an obstinate attitude would have been considered undesirable. European triumphal entries for queens focused on instructing the royal consort on her new duties, especially in regards to the extent and limitations of her powers and responsibilities. These triumphal entries instructed queens to avoid direct involvement in government and focused on the qualities she was expected to possess, such as sweetness of character, submissive temperament, faithfulness and fertility. It was important to impress on them their spousal dependence, especially when they were strong willed women or rulers in their own right. (Carderelli, 2012). Today, we still see gender identity issues exposed in the arts. Take for instance, the role of the urban African American male in modern day society. Contemporary artist, Kehinde Wiley, often investigates within his portraiture the ways in which wealth is not always a clear representation of power. Lured by the opulence of early Euro-American styles of portraits, he found it not unlike the men strutting the streets of Harlem whose uber-glitz, bling and vanity were a faade that belied their real lack of power. Wiley was intrigued by fakeness and authenticity when constructing identities. (Lala, 2012). Power Portrait: Think: Considering issues of gender are still relevant to current times, it is important to question how it shapes us each as individuals. Examine how gender issues affect your life today and your sense of identity and personal power. Question how imagery, objects, signs, symbols, etc. contribute to your understanding of what it means to be male or female in todays society. Think about the ways in which you contribute ideas about gender, power, and identity through your everyday actions. Create: Take a photo of yourself while creating a powerful pose. Print the photo and transfer this image onto paper, cardboard, or canvas. This portrait will become a mixed media collage.

The inside of the portrait will address the open ended phrase I feel most powerful as a male/female when I The goal is to think about the behaviors, roles, or activities that you engage in that make you feel strong and confident. The outside of the portrait will address males/females are misrepresented and undervalued when The objective is to think about how visual culture creates demeaning stereotypes as to what we should look like, think, feel, and act. Write an accompanying commentary that discusses the ways society influences people to conform to traditional gender roles. Explore the ways that movie stars, artists, authors, or musicians contribute to the social construction of gender. Models for Identity Role Model: A person whose behavior in a particular role is imitated by others. (MerriamWebster Online, n.d.). Justin Zullo suggests that we consider praxis (a term defined by theorist Paulo Friere) in which we utilize "reflection and action upon the world in order to transform it. (Zullo, 2011). Many artists throughout time have worked to bring awareness to issues of concern. Society depends on artists to not only understand their own motives, but also in turn become the voice for others. As we look at artists who have been inspired by others we cannot forget the artist, Elizabeth Catlett. She promoted social change by creating art works that commemorated her heroes. When she moved to Mexico she was heavily influenced by the politically charged Mexican muralists of her time. Catlett's predominant theme in her sculpture and prints is Black woman's strength, dignity, and pride. (Herzog, 1992).Another artist who paid tribute to those she considered iconic was Kathe Kollwitz.Kathe Kollwitz was a German artist who, through her prints, drawings and sculpture, was committed to expressing her empathy for the poor, her identification with working-class women, her admiration of their strength in facing ongoing hardships, and her outrage at the horrors of war. (Herzog, 1994). Cultural practices and histories are dynamic, fluid and complicated facets of intersubjective, shifting, and competing beliefs, practice and social arrangements. (Delacruz, 2012). We can become more culturally grounded and in tune with our identity by simply voicing how we have been changed by personal experiences and interactions with people/things in our lives. This allows us as artists to dig deep into how we are shaped and transformed by others. This also permits us to take a bring awareness to the things we find have merit in our lives.

Typographical Hero Portrait: Think: The people that are a part of our visual culture and everyday lives have an effect on us as individuals. We often imitate those we are inspired by. Though its common for people to sometimes admire others due to the types of clothes they wear, the hairstyle they have, or the objects they own, etc., it should not be the only reason we look up to someone. Just because someone has the the look does not make them a great role model. Go beyond physical attributes or personal appearance to discover who it is in your life that influences you and that you strive to be more like. Think about those people who stand for the same causes as you. Create: Recognize heroes among the familiar people in your own life. For instance, you may choose family members, friends, neighbors, teachers, coaches, and so on. Write down why you have a special admiration for those people. Describe the qualities of these people that you admire. Take a photo of your hero and then turn it into a typographical portrait using the words you used to define your role model. You can do this by using the Tagxedo or Wordle cloud websites. Conclusion As identity is examined, I think we discover how our lived experiences shape us. We begin to look at what it is that allows us to be more unique as individuals. We investigate the means in which our individualism permits us to become part of a group. Questions then may even arise as to what may separate us from certain groups. This discovery may later venture into the ways identity can leave us feeling misrepresented or even stereotyped. Perhaps, as a result of these queries we begin to recognize how a sense of belonging is a vital factor in how we relate to others. As author Lene Jensen analyzes the psychological development of human identity she explains that the Eriksonian identity formation task centers on deciding what distinguishes you as an individual among the members of your cultural community, whereas forming a cultural identity involves deciding on the cultural communities to which you will belong. (Jensen, 2003). In closing, I think that the search for self is complex and difficult. Our eternal search for individualism lies in the fact that our identity was, is, and always will be ever-changing. However, the exploration can be beneficial and well worth it as we evaluate the meaning of our life and our place in it.

References Cardarelli, S. (2012). Art and Identity: Visual Culture, Politics and Religion in the Middle Ages and the Renaissance. Cambridge Scholars Publishing. Retrieved from: http://lib.myilibrary.com.lp.hscl.ufl.edu?ID=358104 Delacruz, E. M. (2012). What Asian American artists teach us about the complicated nature of 21st century Americans multilayered, transcultural, and hybridized identities and art practices: Implications for an intercultural and social justice oriented approach to teaching art. In S. K. Chung (Ed.), Teaching Asian art (pp. 234-240). Reston, VA: National Art Education Association. Herzog, M. (1992). Art and Identity: Elizabeth Catlett. School Arts. 92(4), 23. Retrieved from: http://go.galegroup.com.lp.hscl.ufl.edu/ps/i.do?id=GALE|A12982207&v=2.1&u=gain40375&it= r&p=AONE&sw=w Herzog, M. (1994). Art as Expression: Kathe Kollwitz. The Free Library. Retrieved from: http://www.thefreelibrary.com/Art as expression: Kathe Kollwitz.-a014846786 Hilliard, K. & Wurtzel, K. (2009). Power and Gender in Ancient Egypt: The Case of Hatshepsut Art Education,62(3), 25 Jensen, L. A. (2003). Coming of Age in a Multicultural World: Globalization and Adolescent Cultural Identity Formation. Applied Developmental Science, 7(3), 189-196. Katriel, T. & Farrell, T. (1991). "Scrapbooks as Cultural Texts: An American Art of Memory."Text and Performance Quarterly 11(1): 1-17 Kreamer, C. (2001). Body Art: Marks of Identity. African Arts, 34(1), 83-85. Retrieved from: http://www.jstor.org.lp.hscl.ufl.edu/stable/pdfplus/3337738.pdf?acceptTC=true& Lala, K. (2012). Kehinde Wiley On the World Stage: A Conversation With the Artist. Huffington Post. Retrieved from: http://www.huffingtonpost.com/kisa-lala/kehide-wiley-on-theworld_b_1418058.html McArdle, T. (n.d.). Still Life Objects. Art Is Fun [blog]. Retrieved from: http://www.art-isfun.com/still-life-objects.html Roland, C. (2005). Identity in the Artroom. The Free Library. Retrieved from: http://www.thefreelibrary.com/Identity in the artroom.-a0135932155 Zullo, J. (2011). UCSD art collective: Articulating Identity through Art and Activism. University of California, San Diego. ProQuest Dissertations and Theses, 116. Retrieved from: http://search.proquest.com.lp.hscl.ufl.edu/docview/879552693/previewPDF?accountid=10920

Reference (definitions/terms): Cultural Identity, (n.d.). Wikipedia,the free encyclopedia. Retrieved February 16, 2013, from: http://en.wikipedia.org/wiki/Cultural_identity Personal Identity [Def. 1]. (n.d.). Merriam-Webster Online. In Merriam-Webster. Retrieved February 16, 2013, from: http://www.merriam-webster.com/dictionary/personal%20identity Role Model [Def. 1]. (n.d.). Merriam-Webster Online. In Merriam-Webster. Retrieved February 23, 2013, from: http://www.merriam-webster.com/dictionary/role%20model