Contextualise an artwork (or a series of artworks) made from 1980 Essay

Contextualise an artwork (or a series of artworks) made from 1980 onwards. Discuss how this work relates to the ideas presented in three critical texts - Essay Example The most significant meaning of this piece therefore is the theme of death, shows that the death breathe to communicate (Preziosi 2009). However like any other art work the meaning of this piece depends entirely on the viewer, so it may have varying meanings Witkin is an American born 1939 in Brooklyn of a catholic mother and a Jewish father. It is assumed that his art work is attributed to the accident he witnessed at a tender age; hence the graphic and not so appealing photographs (Witkin 1985). A child was knocked down by a car and her head was swept to the feet of Witkin, this left him traumatized and freaked out, hence his inspiration in art to link the dead and the living. He has studied sculpture and worked as a photographer for the better part of his life, but never done commercial photography. He currently resides in the New Mexico (Preziosi 2009). Witkin argues that his work is aimed at making him a better person, loving, and unselfish (Witkin 1985). He goes further in explaining that he goes for the outcasts in society who are his main inspiration. Critics however have found more immorality in the work of Joel peter arguing that is work is not for the faint hearted (Witkin 1985). This is true as most of his pieces of art are horrific, frightening and too graphic making them more horrendous that beautiful. Most of viewers refer to his pieces of art as pornographic material. The photographs of Witkin not only show a single moment but they capture a series of events of these unusual people in the society. Most of the work done by Witkin represents death and or torture. The work of Witkin is based on transforming body parts of the outcasts into portraits, lustrous and glowing in which the strange variations of people and animals to him is beauty. However the interpretation of his portraits on whether they’re