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Muhammad the Prophet is exalted as Goldstein recognizes Islam’s contribution to the sciences long before their European counterparts, juxtaposing “the obvious disconnect between the East, specifically Islamic principles and the West’s secular ideals, which is currently at the forefront of international concern.” Ganesha, the Lord of Obstacles is depicted as a tormented outsider struggling to integrate in a hostile world, an experience Goldstein felt “as an immigrant to Canada [.] I was bullied for being different and for not speaking English—you can see in the photo that what differentiates people is not only what they eat, and how they dress, but also what they believe in.” There is a universality within the alternate world of illustrations on the other hand, depicts marginalized communities, such as France’s 4 million Muslims under the lens of racist stereotypes so detached not only from their religious and spiritual roots, but also alienated from the strained colonial history between France and its former colonies.
“The irony is that we continue our immersion in the three poisons when we shop at such overpriced designer supermarkets.
[…] They indulge our narcissism and desire—separating the haves even further from the have-nots, who can’t shop at such places and are left with GMO and lower-scale food.” This consumerism reveals on the one hand, religion’s vulnerability to commodification, and, on the other, its ability to navigate our consumer cosmos, adapting to rapid changing consumer wants and constructed needs.
The series of 10 panels unfolds a tragicomic tale of the perils of being plastic and the potential for salvation through authenticity.
Barbie gets the short end of that stick – in Goldstein’s telling of her story, she endures psychological dysfunction, an emotional breakdown, a really bad haircut and, ultimately, decapitation. Shaped into Barbie’s form – and all her fabulous clothes – is the cultural expectation that her life is charmed.
The filtered, plastic universe of points the finger at all of us and our inconsistency to uphold spiritual peace within our manic, individualistic consumer world.
In the end, Goldstein’s work not only exemplifies satire, but she has created an alternative space where Gods can live among us, but only in so far that we can see our faulty selves in this made-up reality. “Unmournable Bodies.” , Barbara Millicent Roberts has been a lightning rod for debate about the socio-cultural expectations for female identity.In doing so, this reveals our active role in the commodification and the demonization of religious beliefs.The striking difference between the Charlie Hebdo illustrations and is, despite Goldstein’s critique on religion, she remains respectful to the Gods and deities by rooting satire and contemporary narratives within the axiom of their history and spirituality, therefore , rather than distorting the essence of religious icons.shootings ignited the polemics of satire as ammunition against religious fundamentalists and marginalized communities most associated with—at least according to Fox News and its ilk—religious extremists.Satirizing religious and political affairs be done, not only to deepen social consciousness and inspire action, but to reach out to those not easily swayed by abstruse theory and rhetoric.For her second conceptual series of large-format photographic tableaus, Goldstein subverts the storybook storyline of Barbie and her blow-dried boyfriend Ken.Using the sequential narrative form common to comic books, Goldstein places the long-time couple in a custom-manufactured alternative reality of her own design and decoration.A pink on pink playhouse that seems sweetly perfumed for romance. But the candy-coloured interiors and playful appeal of the iconic dolls are Goldstein’s Pop Surrealist lure to engage an audience about serious issues.is social documentary photography masquerading as a puppet show.As a corporate-sponsored American princess, Barbie was made to live the dream of a good life.That’s not Barbie’s fate in Dina Goldstein’s hands.