Photographer Comparison Essay: Cindy Sherman and Omar Diop

Photographer Comparison Essay: Cindy Sherman and Omar Diop Introduction The following study will analyse and compare the contemporary photographers- widely known for their conceptual portraits- American Cindy Sherman (b. 1954) and Senegalese Omar Victor Diop (b. 1980). The works selected are Albert Badin by Diop and Untitled (Self-Portrait with Sundress), both of which feature a persona explored through self-portraiture and conceptual portraiture. Thus, the works go in hand with my theme of identity. Cindy Sherman studied visual arts at university, focusing firstly on painting before later working with photography, which is now her most prominent medium. Sherman is one of the most respected photographers of the late twentieth century. The majority of her photographs are self-portraits, each featuring a feminist element which challenge the representation of women in society and media, as well as American popular culture. Hence, her works are a vehicle for commentary on contemporary American society. Omar Victor Diop studied at the Business School of Paris and worked in communications before concentrating solely on photography. His most famous series is Diaspora (2014) featuring staged self-portraits inspired by Spanish portraiture of the 14th and 15th century. It explores the identity of modern Africans and the role of African history, culture and heritage in the formation of such. Thus, his works explore the interconnectedness of collective and personal identity. Note: Diops name is both correctly spelt as Omar Victor Diop and Omar Viktor Diop. In this study, the former will be used. Diop Analysis of formal qualities Diops series Diaspora meaning the dispersion of people from their original homeland-was first exhibited in 2014. The series appropriates Spanish portraiture of prominent African figures who experienced African diaspora in the 14th and 15th century, with Diop as the subject. Diop produced this series while residing in Spain, during which he experienced cultural alienation. In recreating portraits of famous Africans who were alienated in the most extreme sense in Europe- experiencing racism, mocking, and complete abandonment from society- Diop conducts a personal search for both his own identity and the collective identity of Africans in Europe. The work investigated in this comparative study is Albert Badin (medium), a recreation of a historic portrait by Gustaf Lundberg. Badin- originally named Couchi- was born in 1747 or 1750 in either Africa or Saint Croix before being forced into slavery. Badin- meaning trickster was treated as a noble savage and permitted to work as a Swedish court-servant and butler of Queen Luisa Ulrika of Sweden. Badin was also a diarist and a fond member of the Swedish courtly life. As with the other figures in the Diaspora series, Badin- as stated by Diop- did not fulfil the usual expectations of the African diaspora insofar as they were educated, stylish and confident, even if some of them were owned by white people and treated as the exotic other. (via theguardian.com) Thus, through recreating the portrait, Diop investigates his own cultural heritage and gives figures omitted from history a voice once more, as well as celebrates them, as despite existing at a time where it was very unlikely for them to flourish during colonisation and slavery. (via trueafrica.co) they managed to lead a successful life. Diop achieves this through restaging the original portrait, wearing a near-identical costume and recreating the composition and colour scheme of cool shades of blue and white, which create a sense of harmony and balance. However, the portrait is not exactly copied in Diops piece, merely appropriated. It is readily recognisable, however, the works in Diops series all have a modern-day narrative through references to football. In Albert Badin, these are a whistle and a red card which replace the original works chess pieces. Curator Raquel Wilson has stated the use of football equipment demonstrates the duality of living a life of glory and recognition while simultaneously confronting the challenges of being other' (via omarviktor.com). Modern African players achieved recognition in Europe, yet face still racism, similarly to Badin. Diop states that this is the kind of paradox I am investigating in my work. as there is a very interesting blend of glory, hero-worship and exclusion. (via theguardian.com). The use of football equipment in Diops works ties together racism in both the past and present. In terms of formal qualities, the work mimics and appropriates the original portrait. Diop has a near identical angled tilted head, however, the original portrait is titled to the left whereas Diop turns to the right. Diop wears a similar costume and pose, as well as facial expression: both figures have eye-contact with the viewer in a confrontational, yet playful and manner, as if the figure were challenging the viewer to a game of chess or- in Diops work- presenting the viewer with a red card and whistling at him. In football, this means that the player has to leave the field. This could be representative of Diop criticising the viewer and indeed society of omitting Badin from history, punishing them with the red card. Annotations of Diop Modern appearance: through the high quality of photograph, the piece appears sleek and fashionable, which is to be expected, as Diop also works in fashion photography. The work is not edited to mimic the old and worn appearance of the original piece, as Diop wishes to give the piece a clear modern look. Although Diop recreates a portrait from the 18th century, there is a clear modern narrative through the aesthetics of the work and the use of football equipment. This highlights that problems Badin experienced hundreds of years ago- such as racism and alienation- remain contemporary issues today, and should not be forgotten. Comments on racism in past and present through football props: By making all the figures carry objects related to football, like balls, red cards and studs, I linked them to the present in order to situate them within the debate on immigration and the integration of foreigners into European societies. All these eminent but unknown people were the first to obtain recognition for black people for their exceptional talent. Today, its a talent for football that gives you that passport. (Omar Victor Diop via trueafrica.co) Symbolic form: Diop holds the whistle and red card in a staged manner, allowing the viewer to clearly see the objects. The viewers eye is drawn to them, indicating their importance. Head turned to right: Diop does not exactly replicate the original portrait, although the overall composition is near identical. Annotations of original portrait Head turned to left: one of the key differences between Diops work and the original portrait. Chess pieces: Badin hold chess pieces, representing his intellectual as well as playful and entertaining personality. Interpretation of function and purpose Diop himself poses as a forgotten man. The work is a self-portrait, and as a Sengalese himself, Diop thus explores his own identity, as well as his African heritage. Diops work demonstrates the link and interconnectedness between cultural and collective identity and his personal identity, critically through putting himself in the shoes of figures of the African diaspora as Diop takes on the role of Badin and poses as him. Through the use of modern football equipment and the sleek appearance of the photograph, there is a modern narrative prevalent in the piece. As Diop stated, he wanted to bring these rich historical characters into the current conversation about the African diaspora and contemporary issues around immigration, integration and acceptance. (via thegurdian.com) Evaluation of cultural significance As mentioned previously, Diop gives African historical figures omitted from historical discourse a voice who Diop states ought to be celebrated (via trueafrica.co) and forces the figures into a modern narrative once more. Diop himself belongs to the modern generation of young, successful Africans who chose not to abandon their country, despite being presented the chance to: Diops family is in the upper middle-class and Diop studied and worked in Europe for many years. Thus, contemporary issues relating to Senegal and the African continent influence his work greatly. The portrayal of Africa in often a negative one, featuring nothing but poverty and generalising the large and diverse continent to nothing but stereotypes. In depicting successful African figures who were forgotten in historical discourse, Diop reminds the viewer of the complexity of African history and culture, and speaks against and challenges the negative representation of Africans in popular culture. Furthermore, Diop explores what it means to be a part of modern Africa, and investigates how history influences both personal and collective identity. Through confronting the viewer with historical figures- perhaps in a damning way, represented through presenting the viewer with a red-card- Diop forces the viewer to contemplate and reflect on African history, critically as Diop himself exhibited the series in Dakar and later in France, which has a colonial past and a large amount of African immigrants. Therefore, both the artist and the viewer contemplates the balance and interconnectedness of modern-day Africa and the rich and complex African diaspora. Sherman Annotations Caricature of stereotype: In this work, Sherman takes on the role of a middle-class woman, which is indicated by her tacky jewellery and costume, on vacation, shown by her intense sun-tan. Thus, Sherman handles a multitude of stereotypes in the work: Americans, women, and the working-class. Analysis of formal qualities The work analysed is Untitled (Self-Portrait with Sundress), however, while researching, it was found that sources have also titled the piece Untitled (Self-Portrait with Spraytan). In this study, the former will be used according to the auction site artnet.com, which was deemed a reliable source. The piece was created in 2003 and is a chromogenic print on smooth white paper with full margins, and 66 * 40 cm. The work is a part of Shermans early 2000s series of self-portraits, which feature Sherman in different costumes and poses, portraying female stereotypes in American film, television, and advertising. Through the medium of photography, Sherman mimics reality and constructs new identity: a persona. In doing so, Sherman criticises the subject and role she takes on. In the case of Untitled (Self-Portrait with Spray Tan), Sherman critiques American society for its superficiality and consumerism as well as banality. As with most of Shermans work, it is a self-portrait, in which Sherman uses makeup, costume, and props to depict a common American stereotype and visually and socially-defined personality type. Sherman is barely recognisable and easily changeable as she depicts an intensely tanned subject in a sundress. The subject is posed in an unnatural manner, and her features are exaggerated, thus creating a caricature. In terms of visual properties, Sherman Quotes I feel Im anonymous in my work. When I look at the pictures, I never see myself; they arent self-portraits. Sometimes I disappear. via artlyst Interpretation of function and purpose The work forces the viewer to confront and reconsider stereotypes through. Sherman does not define where she stand in relation to he works, and the interpretation is left open to the viewer. Ultimately, the reaction of the public to her work says more about the viewer than the subjects themselves. In another sense, Sherman argues that personal identity is comprised solely of social dictates and personal intention in that she constructs a persona entirely of vison and socially defined personality archetypes. more Protagonist can escape role, identity construct, fluid, persona Sherman does not fix herself in single social position (quote) Evaluation of cultural significance Sherman has played a major role in various art movements, each of which are reflected in the piece. Feminist movement: Emerging in the late 1960s, the movement sought to criticise and change the world through art, with a specific focus on women and their roles in society over a longer period of time, being the nineteenth to twenty-first century. Sherman, as other feminist artists, include the female perspective in their works and question the social landscape of their context. She explores femininity as a social construct and examines female typologies. In Untitled (Self-Portrait with Sundress), Sherman takes on the role of the stereotype of a sun-tanned, middle-class American woman on vacation, with a so-called cheap appearance. Through creating this character, Sherman explores the role of appearance in the formation of identity, particularly female identity. Thus, Sherman reworks archetypes as both a creator- and woman- and character. She re-establishes women and what it means to be a woman in todays world, and freezes herself in the role she takes through the medium of photograp hy. Thus, the works are both deeply personal and feminist. The Pictures Generation: This label often refers to both contemporary artists and specifically visual artists active in the seventies and eighties. Critically, the artists use appropriation and montage, as well as explore the constructed nature of images through the medium of photography. As with Shermans work, members of this movement often seek to trigger social criticism in viewers saturated by mass media. Indeed, the artists themselves were heavily influenced by the saturated image culture of the United States, and thus, the works challenge traditional art forms and mimic the artificiality of media and in particular advertising. Works appear mass-produced and blur between fine art and popular images, as they are composed with conceptual frameworks. Sherman specifically explores the boundaries between original and fabricated reality through an exaggerated appearance with a clearly staged environment and printed the photographs in large-scale and bright colours, yet the works are c learly inspired by reality. This creates a blend of performance and photography itself. Diop Sherman Making comparisons and connections Formal qualities: Whilst both works share the medium of photography and are self-portraits, the subjects portrayed are vastly different. Both Sherman and Diop take on personas which differ greatly: Sherman poses as an American sun-tanned woman, Diop is a historical figure. In terms of visual properties, the photographs Position, composition Both artists appropriate to some extent. Diop directly mimics a historical portrait, whereas Sherman imitates a specific archetype. The subject is easily recognisable, and thus leads the viewer to question the role of appearances in the formation of identity, and how appearances can or cannot be misleading: does the fact that the artists dress up as a figure mean they are the figure? As the works are self-portraits and the subject is the artist themselves, there is undoubtedly a strong personal link to each work for the artist. Furthermore, both works have a strong element of artificiality. The photographs are staged and feature the subject in exaggerated costume and makeup, and are not designed to be an accurate reflection of reality. However, Sherman deliberately creates a caricature of the subject, whereas Diop recreates a historical portrait with added football props, carrying a symbolic meaning. Function and purpose: Critically, Diop explores the paradox of modern and historical identity, as well as the role of history in the formation of contemporary African identity. Through posing himself as Albert Badin and the use of football symbolism, Diops work investigates the link between our culture, the history of our homeland, collective and personal identity of Africans. Contrarily, Shermans work does not have a focus on history, and instead focuses solely on modern American society and how this influences the personal identity of women. Cultural significance: In terms of cultural significance, the two artists share little to no similarities. However, critically, both artists reflect their own cultural context through their works: Sherman mirrors American stereotypes whereas Diop explores the contemporary question many young Africans face today, being balancing cultural history and modern identity. Making connections to own art making practice Formal qualities: Photography, self-portraits, costume and use of props, simple background Function and purpose: Aim of pieces, small size?, artificiality à ¯Ã†â€™Ã‚   Sherman Cultural significance: Cultural element à ¯Ã†â€™Ã‚   Diop Sources: http://www.artnet.com/artists/cindy-sherman/untitled-self-portrait-with-sundress-aHQ26YzCxxzu-QkGJzHEAQ2 http://www.artlyst.com/Cindy.Sherman http://www.rencontres-arles.com/C.aspx?VP3=CMS3VF=ARLAR1_213_VFormFRM=Frame%3AARLAR1_254 http://africanah.org/omar-victor-diop-2/ http://www.omarviktor.com/project-diaspora http://trueafrica.co/article/omar-victor-diop-on-dakars-spectrum-of-possibilities/ https://i-d.vice.com/en_gb/article/omar-victor-diop-is-documenting-a-new-generation-of-african-creatives http://www.theartstory.org/movement-feminist-art.htm http://www.theartstory.org/movement-the-pictures-generation.htm http://www.theartstory.org/movement-conceptual-art.htm http://www.blackpast.org/gah/badin-adolf-1747-1822 http://www.artspace.com/magazine/art_101/art_market/pictures_generation-51922

Currency Derivatives Essay

Preference of equity and commodity over Currency derivatives trading in India survey Kindly spare some minutes to fill this form and be a part of real customer perception survey and support us to gain an insight about the preferences of Indian retail investors for trading in market and the reasons behind the existing popularity of currency derivative market in India. 1. Did you ever think of currency derivative market as trading option? Yes, I trade in currency market No, but planning to invest after performing research? Never, what is Currency Derivatives? 2. In which market do you trade? (Choose all that apply, skip if you do not trade) Equity Commodity Currency Derivatives 3. Rate your expertise in the market: (Choose one level for each) Zero Commodity Currency derivatives Equity Beginner Intermediate Expert 4. Given Rs. 1000, how would you allocate the money among these investment options? (Allocation should add up to Rs. 100). Hedger Commodity Currency derivatives Equity Speculator Arbitrager 6. Choose and rate from 1 to 3 among the following attributes for each market. (Fill for only those market in which you trade) Returns Market volatility Portfolio diversification Hedging Arbitrage Commodity Currency derivatives Equity 7. Why do you think Indian retails investors have less preference towards currency derivatives market? Strongly agree Not enough self knowledge Less popular among peers Lack of govt. initiatives Agree Neutral Disagree Strongly disagree.

Front Office Operation

Front Office Operations Adam Fikis Week #6 Reservations * Definition: An agreement reached between a supplier and a traveler or travel agent or a clerical or electronic process whereby a seat, a room, a berth or other accommodation is withdrawn from sale and set aside for the use of a specific person, often on payment of a deposit. Reservations Outcomes * Guest Perspective * Having a guestroom ready and waiting when they arrive * Should not be just any room, but the room that best meets the guest needs expressed during the reservations process. * Hotel Perspective The reservations process should provide the highest occupancy and the room revenue possible. Reservation and Sales * Before Automation: * Agents focused on room availability information. * Not able to identify room type. * Agents would note special request on the reservation. * Certain bedding type, smoking, non-smoking, scenic view * Front desk fulfill such request at the time of check-in. * At the same time agents were re sponsible for maximizing occupancy & revenue * Incentives were provided to sell higher priced rooms during check-in. After Automation: * Agents can review room and rate information for specific dates * Request for specific room types, location, and special features can be immediately acknowledged and quickly confirmed as a part of the reservations process. * Agent create an image of the hotel to the callers * Reservations agents are not order takers and are trained in sales techniques. * Reservation now is viewed as part of sales department. Role of the Sales Department in Reservations * Primary Source of Reservations Group Sales Managers or Representatives create group reservations * Corporations, trade associations or SMERF(Sports, Military, Educational, Religious, Fraternal) * Actual reservations may go the reservations department by phone, fax, website etc. * Sales office originated the sale * Sales Department also generate sales from other markets * Transient, Corporate, Leisur e etc. * A major function of the Sales department is to familiarise local businesses and travel agencies about the benefits and features of the property. * Depending on the type of hotel Sales Managers maybe assigned to work with travel agencies, Internet websites, and other reservations distribution outlets * Distribution channels should be familiar with the hotel’s characteristics and surrounding areas * To create a positive impression of the property and the travel destination * Sales Managers are often provided with financial or other incentives for meeting or exceeding their sales goals. * Sales objectives and incentives (including promotions) are now related to revenue rather than room sales as previously done in the past.Types of Reservations * Guaranteed Reservations: (A guaranteed reservation assures the guest that the hotel will hold a room until a specific time of the day following the guest’s scheduled arrival date. ) * Prepayment * A room reservation in wh ich guests, prior to their arrival, provide payment for their rooms. Sometimes referred to as an â€Å"advanced deposit† reservation. * Credit Cards * Reservations are secured by a credit card number. In exchange for your card number, the hotel promises to have a room for you no matter when you show up on the day. Advance Deposits * Requires that the guest pays the hotel a specified amount prior to arrival, usually large enough to cover 1 night’s room and taxes. * Travel Agent * Travelers pay the agency in advance for transportation and room charges; and the agency in turn guarantees the reservation. * Corporate * A corporation entering into an agreement with an hotel, which states that they will accept financial responsibility for any no-shows travelers the corporation is sponsoring. * Voucher / Miscellaneous Charge Order (MCO) * Guest prepays an amount to the agency.The agency forwards the Voucher/MCO to the hotel as proof of payment and guarantee that the prepaid am ount will be sent to the property when the voucher is returned to the travel agency. * Non-Guaranteed * Hotel agrees to hold a room for the guest until a stated reservations cancellation hour * Usually 4:00 p. m. or 6:00 p. m. * Does not guarantee the property will receive payment for no-show * The room is released back into the generally inventory if guest does not arrive by stated time. Reservation Inquiry / Sources Property Direct * Telephone * Mail * Traditional / Electronic * Property Web Site * Property to Property * Faxes * TDD (telecommunications device for the deaf) * Through a central reservation system * Affiliate System * A hotel reservations system in which all participating properties are contractually related * Non-Affiliate System * Subscription system designed to connect independent and non-chain properties * Usually assumes responsibility for advertising * Only accepts certain quality or limited number of hotels in an rea to keep price of their service high * Examp les – Hazelton Toronto & Chateau Bonne Entente (Leading Hotels of the World) * Preferred Hotels & Resorts (Soho Metropolitan -Toronto) * Distinguished Hotels & Resorts (Le Grand Lodge Mont-Tremblant) * Cluster Reservations Office * Chains that have several properties in a geographic area may opt to establish a single reservations or cluster office * Similar to hotel chain reservations system, but serves only a specific location instead of the entire company. All reservation enquiries are channeled through cluster office * Room rates and availability can be coordinated * Cross selling of other cluster properties * Global Distribution Systems (GDS) * Support the distribution of airline tickets, car rentals, hotel inventories with service providers, suppliers & intermediaries. * SABRE, GALILEO, WORLDSPAN, AMADEUS * Inter-sell Agencies * A reservations systems contracted to handle bookings for more than one product line. It is like a â€Å"One Stop Shop† or â€Å"One call does it all†. Handles booking for * Airline companies * Car agencies & lodging properties * Internet Distribution Systems (IDS) * A process by which Hospitality, Travel & Tourism companies offer on-line reservations services via the internet. Group Reservations & Terms * Usually involve(s) a variety of contacts: * In some instances (guests, meeting planners, CVB(Convention & Visitors Bureau), travel agents, tour operator, hotel sales staff etc. ) * Block: An agreed number of rooms is set aside If sufficient rooms are available * A Group Block must be monitored by reservation manager * Special identification code / Reservations Card * Given to prospective guests to reserve rooms within the group’s assigned block * Rooms reserved for specific guests are referred to as booked * If the group take away rooms from transient(non-group) Res. Manager must advise G. Manager. This is called NON-GROUP DISPLACEMENT. * Wash Down – reducing Block based on the group’s hi story * Cut-off date A pre-determined date when the hotel stops accepting reservations for the group * Group Resume * Summary of group activities, billing instructions, arrival / departure patterns * Key attendees and recreational / entertainment activities * Usually stored at the front desk * Group Contract: * states the number of rooms and quoted rate * states arrival, departure, and special consideration – such as complimentary room Reservation Records Identify guests and their occupancy needs before their arrival * Allows the hotel to personalize / customize guest services * Guest name (group name if applicable) * Guest’s home or billing address, telephone and email details * Guest’s company name and address, if any * Number of people and children * Room rate & type * Arrival date and time * Expected departure date * Method of guarantee (if any) * Corporate / Travel Agency Account Information * Special requests (Cribs, Smoking / Non-Smoking rooms, children, disabled etc. Reservation Confirmation / Cancellation * When the hotel acknowledges and verifies a guest room request and personal information by phone, fax, (e)mailing a letter of confirmation. They generally include the following: * Name & address of guest * Date and arrival time * Room type and rate * Length of stay * Number of person(s) in party * Reservations classification (guarantee/non-guarantee) * Reservations cancellation / confirmation number * Special requests, if any

Responses to Our Nig; or Sketches from the Life of a Free...

Our nig which is the name given to a free black slave, even though this name was given to a slave that was free did not mean you were free. This story exposes how the racial dynamics of slavery are replicated in the interracial encounters outside slavery. Our Nig was a story of a slave that fit under this category of not being free when freedom existed. In this passage I will give my critical analysis of my interpretation of Our Nig Frado who was abandoned by her mother and left at the hands of the Belmont family were she was taken as an indentured servant, while being in this house Frado experienced physical and verbal abuse while being in this household. Frado was abandoned by her mother who left to be with her black lover. Frodo’s’†¦show more content†¦I feel like Lois Leveen seems to make an excuse for the treat of Frado as this was a destined situation for slaves that were free. She also feels like that Harriet Wilsons account does not hold much weigh as a slave narrative because it was a subjected and submissive intake to be enslave, In which I feel is rather ridiculous because this is an account of a little girl that was tormented and physically beaten to the point that she was incapacitated from her treatment there to support herself. In conclusion Harriet Wilson’s novel to Our Nig; or Sketches from the Life of a Free Black, in a Two Story White House, North, should be seen as a valid Slave narrative that is a valid account of a slave that was not free, which suffered more then what we can imagine because of a family that wanted someone to do work for them and to improve their class status. We can point out in this novel that there was people who cared about Frado and wanted to remove her from her situation but how do we know that she would have been in a different if not the same situation with someone