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How the Other Half Lives: Studies among the Tenements of New York (1890) is an early publication of photojournalism by Jacob Riis, documenting squalid living conditions in New York City slums in the 1880s. The photographs served as a basis for future "muckraking" journalism by exposing the slums to New York City's upper and middle classes. They ...
American modernism, much like the modernism movement in general, is a trend of philosophical thought arising from the widespread changes in culture and society in the age of modernity. American modernism is an artistic and cultural movement in the United States beginning at the turn of the 20th century, with a core period between World War I ...
Robert Roberts (15 June 1905 – 17 September 1974) was an English teacher, writer and social historian, who penned evocative accounts of his working-class youth in The Classic Slum (1971) and A Ragged Schooling (1976).
Slums exist in many countries and have become a global phenomenon. [275] A UN-Habitat report states that in 2006 there were nearly 1 billion people settling in slum settlements in most cities of Central America, Asia, South America and Africa, and a smaller number in the cities of Europe and North America. [276] [page needed]
Examples include the socialist realism style associated with socialist states, and sometimes the similar art style associated with fascism. Its characteristics are realism and the depiction of figures as ideal types or symbols, often with explicit rejection of modernism in art (as "bourgeois" or "degenerate").
While the movement's characteristics vary from nation to nation, it almost always uses a form of descriptive or critical realism. [1] The term is sometimes more narrowly used for an art movement that flourished in the interwar period as a reaction to the hardships and problems suffered by common people after the Great Crash. In order to make ...
Informalism or Art Informel (French pronunciation: [aʁ ɛ̃fɔʁmɛl]) is a pictorial movement from the 1943–1950s, [1] that includes all the abstract and gestural tendencies that developed in France and the rest of Europe during the World War II, similar to American abstract expressionism started 1946.
Karenga says, "Black Art must expose the enemy, praise the people, and support the revolution". The notion "art for art's sake" is killed in the process, binding the Black Aesthetic to the revolutionary struggle, a struggle that is the reasoning behind reclaiming Black art in order to return to African culture and tradition for Black people. [34]