Especially in our contemporary material culture with mass production and consumer culture playing big roles, a deceased loved one leaves behind many possessions. These possessions can range from...Show moreEspecially in our contemporary material culture with mass production and consumer culture playing big roles, a deceased loved one leaves behind many possessions. These possessions can range from their IKEA bedside table that cousin Maddie can put to good use in her new dorm room, to their last shopping lists scribbled down on a crumbled up, sticky note. Seemingly unimportant objects like these will be a red thread throughout this paper. Still-life paintings have the ability to invert seemingly unimportant objects. By putting the focus of the artwork on the material objects, these seemingly unimportant objects become important. Rachel Grobstein’s series Bedside Tables shines light on the often overlooked aspects of daily life exploring questions related to memory, routine and identity. In this consumer culture we have so many items around us and in our possession, that the importance of many of these is often forgotten. When they are -subconsciously- brought together by a person they can start to tell a story, the life story of an individual. Without the body being present in the artwork, it leaves just the story of a person, the memory of them. When we take a closer look at her work through the traditional Vanitas Tradition these artworks start to remind us of how irrelevant and unimportant these material objects are once we pass; we cannot take these with us anyway. Yet, as these material possessions might not be important for an individual once they pass, these possessions stay important to the people they leave behind, for their process of grief, for keeping their memory alive in this material world. It goes further than our physical world but represents this right through material objects from this very physical world. It is not about the physical presence of the body or corpse, but about the memory of the person. However, it is this memory that is represented through the material objects/possessions of the deceased person. The series Bedside Tables represents something outside of our physical world, but does so through the physical objects of our consumer culture. Can the contemporary work by Rachel Grobstein allow us to combine both the still-life Vanitas tradition and the theories surrounding death, memory and material culture? In this paper I argue that our contemporary consumer culture shines a new light on the well-known Vanitas tradition, focussing on the seemingly unimportant objects produced for consumer culture and their role in memory after death in a western society. At the beginning of this paper there will be an analysis of Rachel Grobstein’s series Bedside Tables as well as the traditional Vanitas tradition and how this tradition has been adapted in modern times through art movements like Pop Art. As a theoretical framework I will be using Elizabeth Hallam and Jenny Hockey’s Death, Memory and Material Culture (2001) and Jennifer Owen’s Distancing material effects to reconcile loss: Sorting memories and emotion in self-storage (2020), both of which will help me reveal the importance of material objects in experiences of grief, mourning and memorialising. As I take a deeper look into death and consumer culture and the notion of grief through the theory of Owen and Hallam and Hockey.Show less
Bachelor thesis | South and Southeast Asian Studies (BA)
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Social media has been able to develop itself as a necessity into the lives of Indonesian users for the past decade. There are different factors that contribute to the popularity of social media...Show moreSocial media has been able to develop itself as a necessity into the lives of Indonesian users for the past decade. There are different factors that contribute to the popularity of social media usage in Indonesia. The most important motive behind remains the wide accessibility of mobile internet devices. Social media has been a main focal point for cultural exchanging and cultural expressions. It has shaped and created idealistic lifestyles, beauty perceptions, fashion trends and religious/educational resources are shared freely in a high pace. Especially on the social network application Instagram, visual representations are easily being shared using photographic posts. Along with the impact of globalization, Indonesian Instagram users are the interlinked and in direct involvement with the outer world. It cannot be denied that social media platforms strengthen the power of the active individual agent and that the social media application becomes an empowerment tool to the audience. Besides the evident benefits, social media has brought a series of negative effects to the Indonesian society as well. Ethical conflicts and moral violations of visual social media content have inflamed the debate on social media literacy education. Also, excessive monthly expenditures are a result of the problematic high consumer culture that circulates on Instagram. Especially the most dominant group users –Indonesian youngsters– seem to be the most vulnerable group for these online complications. It is therefore of the interest to highlight how the Indonesian youth approaches and practice social media applications. This paper explores cultural Indonesian youth studies further on virtual terrain, with its focus on the photo-sharing application Instagram.Show less