Prompt

Introduction

“Is this the world you want?” is a museum exhibition produced by Kaylee Bateman.  It is a new exhibition at the V & A graphic representation of the revolutionary spirit that happened in the mid and late 1960s, which pervaded our social, political and imaginary cultures. Kaylee Bateman is a special computer editor who talks about diversity. She is gratified to talk about the revolution diversity in the portrait she worked on.  The artist has approached the suffering of the people in the ancient world and tries to discuss what revolution can help them adjust the society they live.  It is an exhibition based on revolution and opens its viewer’s eyes on national peace and love.  Instead, it tries to explain the traditional oppression events (Oppenheimer, 3). 

Body

            In the 1960s, cultural rebellion was still ongoing in the western domain and mate almost to impact in our inhabited area. Later in 1970, there was the spirit of revolution that the citizens felt due to the existing disaster. This exhibition brought the spirit of the freedom idea where the viewers relate it to the repression that people in the crisis based countries face.  As many fair-minded people into the V&A to see Is this the world you want. On its opening day, there were many reasons, but affectionate memory was definitely one of them (Oppenheimer, 4). I wanted to have a look at what the other artists and viewers would claim in the liberalizing moment, which was a standpoint that gave social significance that we currently take in vain.  In 1965 in Britain, homosexuality and abortion were illegal and the family planning pills were to the married women.  It was hard to have a divorce; there was a death punishment of anyone guilty of assassination and racial discrimination was not extensive and the theatre would suppress (Oppenheimer, 5)

            The V&A has raised many exhibitions showing the space coved by revolution such as the Cold war and Postmodernism where the exhibition of, ‘is this the world you want’ had the similar academic depth and power (Oppenheimer, 6). The exhibition is a production with popular culture and attracting large audiences to the museum.  The exhibition shows an era full of graphic revolution in which the probability and excitement of the structural and emotional changes emits from every printed space on the graphic (Oppenheimer, 7). 

            These graphic portraits base on the political and social promotions, feminism and gay liberation and the freedom of the blacks.  It shows how these features are still developing approaches gains grip. The exhibition’s immersive propensity is at its most incisive cover that is mainly devoted to the Vietnam War.  These portraits collected does not only demonstrate about genocide effects with the lingering images of dead people and burnt villages, children suffering and child soldiers with empty gaze, but also the agrarian account of women, men and children with fear of their lives in each day. The portraits central cover shows that these victims are not figures but people (Oppenheimer, 17).

            The exhibit does not intend to show self-reflection but the pictures anticipate on the walls giving the viewers an avoidable monumentality.  If one is a young mother for instance in Darfur and has children, trying to safeguard them and your life, but most importantly, you are trying to protect the life of your family, you become inundated every time. At the start of World War II, the Nazi’s applied genocide on an extraordinary range based on the racist ideology that described Jews as freeloading parasites (Oppenheimer, 112). All of the Jews in Europe were scheduled for destruction, the sick and the rich and the religiously to be converted to Christianity.  Many Jewish children survived the scandal though many hide.  With personality veiled and physically covered from the outer world, these children faced anxiety, predicaments and dangers (Oppenheimer, 145).   

            The exhibition of the portrait reviews the Nazis’ rise and consolidation of supremacy in Germany.  Using the symbols, the portrait discovers their principles, misinformation and the prosecution of Jews and their children.  It also shows the way in which the Nazi’s and their associates led to a nation to war and to the assassination of millions of people. By giving an overview of the Holocaust and those engaged, this exhibition aims to incite the indication and discussion about the role of the basic people, organizations and states between 1918 and 1945 (Braham, 39).

 Nazi genocide

            As the portrait describes, the social problems that the people faced was due to the quick industrialization and the development of cities. Status and manners were adjusting while the crime was on the increase side and sexuality in fluctuation. The Nazi has discriminated the Jews in ghetto, which developed in the most desolate areas in cities.  These policies based on revolution helped the Nazis when they started their genocide and settling to the killing centers.  The main objective to the Jews was on killing them but the death rate of children was commonly high (Braham, 56).

Conclusion 

            Based on revolution theory, the exhibition defined the significance and impact of rebellion in the late 1960’s.  It shows the significant way to forecast the future is to discover it.  Technology also shows the dark and threatening side of revolution.  Therefore, the exhibition portrait claims the need of recapturing the power of the 1960s based on revolution and provides quality tools for thought.               

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Reference

Oppenheimer, Margaret A. The French Portrait: From Revolution to Restoration : September 30-December 11, 2005, Smith College Museum of Art. Northampton, Mass: Smith College Museum of Art, 2005. Print.

Braham, Randolph L. The Politics of Genocide: The Holocaust in Hungary. Detroit, Mich: Wayne State Univ. Press, 2000. Print.