representation of work meaning

More From Forbes

Why representation is more important than inclusion alone.

• Share to Facebook
• Share to Twitter
• Share to Linkedin

CEO, IMPAQ Corp. Execution and transformation expert. Best-selling author. Newest book: " B State ".

Employee inclusion at all levels is a critical factor for organizational success. Because of the increased speed and urgency with which organizations are forced to adapt to a continually changing business environment, respond to new customer demands and effectively compete with the competition, employee inclusion is more important now than it’s ever been.

Old ways of thinking about business must be replaced with greater innovation, creativity, perspectives and solutions. This requires radical inclusion of people with diverse backgrounds including but not limited to race, ethnicity and culture, sexual orientation, gender, geographical location, technical backgrounds and expertise.

The Advantages Of Inclusion

Besides the advantages of supporting innovation and process improvement mentioned above, there are several other advantages to employee inclusion that improve operational excellence, morale and employee retention including:

• Anticipating and preventing breakdowns by including all functional areas impacted by a plan that is mostly developed by one functional area and creating proactive recovery plans

• Giving context to employees who are more task-oriented by including them in the planning process

• Developing future leaders more effectively by educating them on the business, the impact of different functional areas and learning problem-solving/decision-making skills

• Creating a level of shared ownership and accountability by letting employees have a say in planning and finding solutions for moving forward

The Challenges Of Inclusion

While there is great value in increasing inclusion, there are also many challenges that negatively affect organizations and diminish the impact of inclusion.

• It takes time to coordinate and include multiple levels and functions in planning, problem solving and decision making that diminishes short-term effectiveness and efficiency

• There is a cost associated with pulling employees away from their tasks to join in on meetings

• Including others’ input can slow down a meeting, provide so many options and ideas that confusion ensues, slow decision-making and distract from clarity and purpose

• Including others sets up expectations that if one isn’t included, they are being left out, which can diminish commitment, ownership, cooperation and accountability

• Including others without a clear definition of role and purpose for participation can create conflict and confusion

• There can be confusion about who to include and who to leave out

The Deeper Challenges To Inclusion

The greatest challenges to successfully implementing a culture of inclusion have less to do with the logistics of time or the cost of inclusion and have more to do with the limiting beliefs and emotional reactions that prevent “truly” including others.

It’s easy to bring diverse populations into a meeting, but it’s much harder to listen to their ideas with openness and curiosity, letting go of the need for control or risking the discomfort of doing something different. It takes courage to be open to new solutions, new business models and new ways to execute effectively, and many very successful executives live in fear that’s exhibited by controlling behavior.

Taking Inclusion To The Next Level With Representation

The experiences that we all want to have as human beings are to feel understood, be seen and be valued for our input, effort and contribution to achieving results. Even being included won’t provide that experience if when we are included, we are ignored or not taken seriously.

It’s more important that we feel represented than included. We want to know that we are truly heard, even if our ideas aren’t always implemented. When decisions are getting made, we want to know that the negative impact on us personally was represented and not ignored, even if we couldn’t be personally included in the decision.

The Difference Between Inclusion And Representation

When you don’t know how another person, functional area or organizational level is impacted by solving a problem, making a decision or implementing a change, then you must include those people or areas to ensure representation. In addition to including and representing others’ input and opinions, it’s also important to learn the context and background that shapes their ideas. For instance, everyone comes to these discussions with practical constraints, concerns and ways of thinking so that as we gain understanding, we can better represent in future discussions.

When our focus is on representation, we may not always need to include others to fully represent them. If we aren’t sure, we can include them with the objective of learning about the context, background, different experiences and different perspectives that shape their ideas so that they can be more effectively represented in the future. This makes people feel fully understood and considered, rather than making them feel like they’re part of a token inclusion initiative without authentic representation.

Building The Muscle Of Representation

To begin moving toward an inclusive and representative culture in your organization, take the following steps.  

Step 1: Commit to learning from inclusion, not just including people with no end goal.

Step 2: Share the learning received from inclusion for better understanding throughout your organization.

Step 3: Test how well you are representing others without including them by asking them to validate or modify your understanding of their perspective.

Step 4: Begin making plans, decisions and change efforts with an emphasis on representation rather than inclusion and test the speed, accuracy and effectiveness for learning and modification.

Step 5: Clarify the situations in which inclusion, rather than representation, is necessary.

As organizations move to representation rather than inclusion, they get better at understanding the cross-functional and cross-cultural impact on organizational success. This gives the freedom to represent others without the cumbersome act of including everyone in every decision, speeding up problem solving, decision making and effective planning without getting bogged down in endless meetings.

Forbes Coaches Council is an invitation-only community for leading business and career coaches. Do I qualify?

• Editorial Standards
• Reprints & Permissions

Why Representation Matters in the workplace

Representation and diversity in the workplace are more relevant than ever. A 2020 study from McKinsey states that companies that have continued to implement diversity and inclusion initiatives have a better likelihood of consistent financial outperformance no matter the economic climate. Any company that wants to succeed in a modern and progressive business landscape stands to gain from a team that represents a range of races, religions, ages, ethnicities, genders, and the like. Here are some top reasons why representation in the workplace matters: 

Creates a more unified and compassionate team

Diversity in a company’s workforce as well as upper management positions fosters representation in various levels of that company. When we can see elements of our social identity reflected in others we can better relate to, and understand, how they perceive the world. Having diversity in multi hierarchical levels of an organization nurtures a deeper compassion that transcends job titles.

Helps to better understand your audience

Unless your target market has a hyper-focus on certain demographics, then it’s more than likely that your customer base is also diverse. Companies representing these demographics can help offer a better understanding of their needs and pain points. With an array of perspectives, organizations can take steps to improve their existing offers and develop new ones. 

Develops more Innovative Ideas

With a wide variety of talent, companies also gain access to more innovative ideas, perspectives, and solutions. A study by the Boston Consulting Group (BCG) has found that companies with more diverse management teams have 19% higher revenue due to innovation than their less diverse counterparts. When a company puts importance on representation, they can leverage these differences into strengths that can help everyone achieve their goal.

Can expand your customer base

Clients and customers are more likely to do business with brands where they see themselves represented. Not only will having more diversity in an organization help to better understand a larger audience, as explained above, it will also attract a larger more diverse customer base. 

Nova works with clients to audit and evolve their existing recruiting and hiring and retention efforts, and our clients see the impact in the continued diversification of their organizations. Your Talent team likely has limited capacity and, like most organizations, is probably up to their ears in open reqs at the moment.  Get in touch to learn how Nova can support their efforts and create more capacity.  

Share This Article

ABOUT US OUR TEAM OUR MISSION OUR APPROACH NOVA'S W ORK ING COMMITMENTS NOVA'S LEARNING JOURNEY NOVA IN THE MEDIA CONTACT US

WORK WITH NOVA

LEARNING CONSULTING CONTENT TOOLS

ARTICLES VIDEOS PODCAST FREE DOWNLOADS

Join The Collective

The nova collective.

1819 W Grand Ave Ste 203 Chicago, IL 60622 [email protected] (866) 383-4463

• More from M-W
• To save this word, you'll need to log in. Log In

representation

Definition of representation

Examples of representation in a sentence.

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'representation.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

15th century, in the meaning defined at sense 1

Phrases Containing representation

• proportional representation
• self - representation

Dictionary Entries Near representation

representant

representationalism

Cite this Entry

“Representation.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/representation. Accessed 13 Aug. 2024.

Kids Definition

Kids definition of representation, legal definition, legal definition of representation, more from merriam-webster on representation.

Thesaurus: All synonyms and antonyms for representation

Nglish: Translation of representation for Spanish Speakers

Britannica English: Translation of representation for Arabic Speakers

Britannica.com: Encyclopedia article about representation

Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free!

Can you solve 4 words at once?

Word of the day.

See Definitions and Examples »

Get Word of the Day daily email!

Popular in Grammar & Usage

Plural and possessive names: a guide, commonly misspelled words, how to use em dashes (—), en dashes (–) , and hyphens (-), absent letters that are heard anyway, how to use accents and diacritical marks, popular in wordplay, 8 words for lesser-known musical instruments, it's a scorcher words for the summer heat, 7 shakespearean insults to make life more interesting, 10 words from taylor swift songs (merriam's version), 9 superb owl words, games & quizzes.

Alisa Acosta

Researcher, Designer, Educator

Representation, meaning, and language

In his interview with Eve Bearne, Gunther Kress argues that literacy is “that which is about representation” (Kress, in Bearne, 2005, p. 288).  Because “literacy” implies something that is mediated through text, in my previous post I questioned the idea of what constitutes a “text.” After further consideration, I feel that  representation  is the key; therefore, for the purposes of this post I have decided to pursue  representation  a bit further.

The following two graphics provide a visual model for the way I have come to understand  representation  through various readings (most notably, those by cultural theorist Stuart Hall). Although these models represent the culmination of my understanding, I thought it would be helpful to  begin  with these models and then proceed to deconstruct and explain them throughout the post.

Model 1: Theories of Representation

Cultural theorist Stuart Hall describes  representation  as the process by which meaning is produced and exchanged between members of a culture through the use of language, signs and images which stand for or represent things (Hall, 1997).  However, there are several different theories that describe how language is used to represent the world; three of which are outlined above:  reflective, intentional  and  constructionist.

With  reflective  approach to representation, language is said to function like a mirror; it reflects the true meaning of an object, person, idea or event as it already exists in the world.  The Greek word ‘ mimesis’  is used for this purpose to describe how language imitates (or “mimics”) nature.  Essentially, the  reflective  theory proposes that language works by simply reflecting or imitating a fixed “truth” that is already present in the real world (Hall, 1997).

The  intentional  approach argues the opposite, suggesting that the speaker or author of a particular work  imposes  meaning onto the world through the use of language.  Words mean only what their author intends them to mean.  This is not to say that authors can go making up their own private languages; communication – the essence of language – depends on  shared  linguistic conventions and shared codes within a culture.  The author’s intended meanings/messages have to follow these rules and conventions in order to be shared and understood (Hall, 1997).

The  constructionist  approach (sometimes referred to as the  constructivist  approach) recognizes the social character of language and acknowledges that neither things in themselves nor the individual users of language can fix meaning (Hall, 1997).  Meaning is not inherent within an object itself, rather we  construct  meaning using  systems of representation  (concepts and signs); I will elaborate upon these systems further in my second model.  According to Hall:

“Constructivists do not deny the existence of the material world. However, it is not the material world which conveys meaning: it is the language system or whatever system we are using to represent our concepts. It is social actors who use the conceptual systems of their culture and the linguistic and other representational systems to construct meaning, to make the world meaningful and to communicate about that world meaningfully to others.” (Hall, 1997, p. 25)

There are two major variants of the constructionist approach: the  semiotic  approach, which was largely influenced by the Swiss linguist Ferdinand de Saussure, and the  discursive  approach, which is associated with French philosopher Michel Foucault.

Semiotics is the study of signs in a culture (culture  as  language), though the  semiotic  approach doesn’t consider how, when or why language is used.  Saussure believed that language was a rule-governed system that could be studied with the law-like precision of a science (deemed “structuralism”).  He called this rule-governed structure “ la langue,”  and referred to individual language  acts  as “ la parole”  (Culler, 1976).  Many found Saussure’s model appealing because they felt it offered a closed, structured, scientific approach to “the least scientific object of inquiry – culture” (Culler, 1976, p. 29).

“Saussure’s great achievement was to force us to focus on language itself, as a social fact; on the process of representation itself; on how language actually works and the role it plays in the production of meaning.  In doing so, he saved language from the status of a mere transparent medium between  things  and  meaning .  He showed, instead, that representation was a  practice .” (Hall, 1997, p. 34)

With the  semiotic  approach, in addition to words and images, objects themselves can function as signifiers in the production of meaning (Hall, 1997).  Therefore from this perspective, going back to my previous post, my little book of plant pressings may in fact be considered a  text  since each little plant was chosen as a  representative  of an entire species.  Because they were being used to  represent  certain species, it is not the actual plant clipping itself that carries the meaning, rather it is the  symbolic function  it serves in generalizing the morphology, physiology, taxonomy etc.

What Saussure failed to address, however, were questions related to  power  in language (Hall, 1997). Cultural theorists eventually rejected the idea that language could be studied with law-like precision, mainly because language doesn’t operate within a “closed” system as Saussure suggests.  In a culture, language tends to operate across larger units of analysis – narratives, statements, groups of images, and whole discourses which operate across a variety of texts and areas of knowledge (Hall, 1997).

Michel Foucault used the word “ representation ” to refer to the production of  knowledge  (rather than just meaning) through the use of  discourses  (rather than just language) (Foucault, 1980).  His conception of “discourse” was less concerned about  whether  things exist, as it was with  where  meaning comes from. Discourse is always context-dependent.

J.P. Gee uses the concept of Discourse to describe the “distinctive ways of speaking, listening, reading and writing, coupled with distinctive ways of acting, interacting, valuing, feeling, dressing, thinking, believing with other people and with various object, tools, and technologies so as to enact specific socially recognizable identities engaged in specific socially recognizable activities” (Gee, 2008, p. 155).  As Foucault suggests in  The Archaeology of Knowledge,  “nothing has meaning outside of discourse” (Foucault, 1972).

Additionally, for Foucault the formation of discourses had the potential to sustain a “regime of truth” in a particular context.  No form of thought could claim absolute truth, because “truth” was all relative; knowledge, linked to power, can  make itself true .

“Here I believe one’s point of reference should not be the great model of language (langue) and signs, but that of war and battle.  The history which bears and determines us has the form of a war rather than that of a language: relations of power not relations of meaning”  (Foucault, 1980, p. 114-115)

Model 2: Systems of Representation

Meaning is always produced within language; it is the  practice  of representation, constructed through  signifying.   As described in the previous section, the “real world” itself does not convey meaning.  Instead, meaning-making relies two different but related systems of representation:  concepts  and  language .

Concepts  are our mental representations of real-world phenomena.  They may be constructed from physical, material objects that we can perceive through our senses (e.g. a chair, a flower, a tangerine), or they may be abstract things that we cannot directly see, feel, or touch (e.g. love, war, culture).  In our minds, we organize, cluster, arrange and classify different concepts and build complex schema to describe the relations between them (Hall, 1997).

If we have a concept for something, we can say we know its  meaning , but we cannot communicate this meaning without the second system of representation:  language .   Language  can include written or spoken words, but it can also include visual images, gestures, body language, music, or other stimuli such as traffic lights (Hall, 1997).  It is important to note that  language  is completely arbitrary, often bearing little resemblance to the things to which they refer.  As Stuart Hall describes:

“Trees would not mind if we used the word SEERT – ‘trees’ written backwards – to represent the concept of them… it is not at all clear that real trees  know  that they are trees, and even less clear that they know that the word in English which represents the concept of themselves is written TREE whereas in French it is written ARBRE! As far as they are concerned, it could just as well be written COW or VACHE or indeed XYZ” (Hall, 1997, p. 21)

Codes  govern the translation between  concepts  and  language .  These codes are culturally constructed and stabilize meanings within different languages and cultures.  (Note: although meanings can be  stabilized  within a culture, they are never finally  fixed.   Social and linguistic conventions change over time as cultures evolve).

Saussure referred to  the   form , or the  language  used to refer to a concept,   as “ the signifier,”  and the corresponding  idea  it triggered in your head (the  concept ) as “ the signified .”  Together, these constituted “ the sign,”  which he argued “are members of a system and are defined in relation to the other members of that system” (Culler, 1976, p. 19).

In order to produce meaning, signifiers have to be organized into a system of  differences  (Hall, 1997).  For example, it is not the particular colours used in a traffic light that carries meaning – red, yellow, green, blue, pink, violet or vermillion are all arbitrary.  What matters instead is that they are  different  and can be distinguished from one another.  It is the  difference  between Red and Green which signifies – not the colours themselves, or even the words used to describe them (Hall, 1997).

Therefore, going back to my plant pressings dilemma, I am now inclined to argue that my book of plant clippings  is  in fact a text.  My  wild rose  clipping, for example, serves as a material “ signifier ” to represent the  concept  of “ wild rose-ness ” (the  idea ) through its physiological  differences  to the other plants contained in the book.  Meaning is made through the fact that it  represents  wild roses – even though I could have chosen any other wild rose plant from which to take my representative sample.  The book itself is transportable and no longer tied to its immediate context of production, which was an important criterion for Lankshear and Knobel’s definition.

However, after compiling this research on  representation , I have also come to understand that the  definition  of “text” is less important than its  interpretation:

“There is a necessary and inevitable imprecision about language… There is a constant  sliding of meaning  in all interpretation, a margin – something in excess of what we intend to say – in which other meanings overshadow the statement or the text; where other associations are awakened to life, giving what we say a different twist.  So interpretation becomes an essential aspect of the process by which meaning is given and taken” (Hall, 1997, p. 32-33).

___________________________

References:

Bearne, E.  (2005).  Interview with Gunther Kress.  Discourse: studies in the cultural politics of education.  26(3):287-299

Culler, J.  (1976).  Saussure.  London: Fontana.

Foucault, M.  (1972).  The Archaeology of Knowledge.  London: Tavistock.

Foucault, M.  (1980).  Power/Knowledge.  Brighton: Harvester.

Gee, J.P.  (2008).  Chapter 8: Discourses and literacies.    in Social linguistics and literacies: Ideology in discourses, 3rd edition.  London: Routledge.

Hall, S. (Ed.)  (1997). Representation: Cultural representations and signifying practices. Chapter 1: Representation, meaning and language.  London Thousand Oaks, Calif: Sage in association with the Open University. pp. 15-64

Share this:

• Already have a WordPress.com account? Log in now.
• Subscribe Subscribed
• Copy shortlink
• Report this content
• View post in Reader
• Manage subscriptions
• Collapse this bar

• Skip to primary navigation
• Skip to main content
• Skip to primary sidebar

WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Representation in Literature: Why It’s Important & How To Handle It

October 10, 2018 by ANGELA ACKERMAN

Happy to welcome Deborah Dixon , a passionate author, editor, and racial justice activist to talk a bit on Representation in Literature, a topic of importance and something I think many of us want to understand better so we can encourage the right sort of discussions and help bring about change. Please read on!

The issue of representation has become an important one in literature and throughout the entertainment industry. As an author and publisher of color, I am often asked to offer insight on how best to include characters of diverse backgrounds. Specifically, this means characters from minority or underrepresented groups, such as ethnic minorities, LGBTQIA+ persons, religious minorities, those with disabilities, and to some extent, socioeconomic minorities. In this article, I will use the term “minority” to refer to members of all of these groups.

First, my credentials: I am Jamaican, neurodivergent, and simultaneously a citizen of and immigrant to the United States, among other things. These credentials do matter, because the basis of a person’s regard for your opinion on these sensitive matters starts with your background. It isn’t the whole picture; not every minority person has the same breadth of experiences, and many majority members have been exposed to the problems that minority members face. Also, like anything else, background and privilege are nuanced. Even I have some sources of privilege: I am cisgender and not physically disabled.

Also valued is the nature of a writer’s privilege. I won’t discuss privilege and entitlement too much here, as there are plenty of resources on both, such as this exploration of the different elements of identity.

There are two primary reasons why representation is important: inclusivity and perception .

Seeing people who look, act, and experience life like them in media makes a person feel included in a society, and it reinforces positive views of themselves and what they can achieve in society. Also, members of other groups, especially majority groups, base their ideas of groups on what they see in the media . For example, a hiring manager who watches too many police procedurals might view candidates of minority races as having criminal tendencies.

For people who exist outside of these marginalized and underrepresented groups, it can be hard to imagine life with the experiences and hardships that minorities experience. Without those experiences, writing characters of diverse backgrounds can seem daunting.

A good start is to be cognizant of the problems that your character would face and when those problems would have to be addressed. People of minority groups are still people; we have similar needs and similar motivations. The main difference is in the ways that society and its structures are arrayed against any particular group.

Therefore, in some situations, it will be perfectly acceptable to write a minority character just as you would any other. If a character’s romantic relationships are never brought up, then their sexual orientation might be little more than a footnote. Likewise, a black student’s college career might be just like that of a white student if the college itself is diverse and tolerant.

However, if the character is placed in a situation where their identity would be a factor, then it would be irresponsible to overlook it. For example, a black character being pulled over by the police should be described as feeling exceptional anxiety over their possible treatment by the officers. Whether the writer feels that this is a legitimate fear is irrelevant; it is what black people experience, and it is a problem that we continue to battle . Any work that included a black character getting along famously with the police would be soundly ridiculed by the black community.

Also, it might be tempting to fall back on stereotypes, but these are harmful images that still negatively affect members of those minorities. Take, for example, the common use of Middle Eastern characters as villains , or the portrayal of Native Americans as oversexualized savages . If these are the characters that are being written, then we would rather not have them at all!

Remember that minority characters are not there to be “exotic” ornaments for your plot. One striking example I encountered as an editor was a white writer using an almost all-white cast who included an Asian woman as a manicurist. It was meant as a cheeky observation, but in practice, it supported yet another harmful stereotype, and it would have reinforced to readers that Asian woman are only fit to run nail salons.

Always Do the Research

There is plenty of first-hand material about the situations that minority groups face, and many companies, including mine , offer research specific to fiction writing. If you happen to know someone from the group that you are interested in writing about, then ask that person if they can offer any insight, and be prepared for them to possibly turn you down.

Finally, remember that this is a cultural exchange; you must offer something in return. Consider promoting minority authors. Don’t just tack on characters to be “diverse,” and don’t borrow elements from a group without context, such as European knights using scimitars because they’re “cool.”

For a well-known example of what not to do , observe J. K. Rowling’s approach to including Native Americans in the Potterverse. She combined the hundreds of Native American cultures into one homogenous “community,” reappropriated important cultural touchstones, and supported harmful narratives of Natives accepting white colonialism. Although she was called out on this , she has not publicly apologized or changed her approach.

The best recent example of representation being done right is a film: 2016’s The Accountant , in which the main character, played by Ben Affleck, is high-functioning autistic. While the character is written in a very predictable fashion—aural oversensitivity, emotional vacancy—Affleck’s performance provides nuance that elevates the entire story. It’s clear that he and his supporting cast did the research, and while the movie’s overall effect on the autistic community is debatable, many of us saw pieces of ourselves in its protagonist .

Although the entertainment industry at large is welcoming more content written by minority members, most stories that reach the mainstream are still ones written by the majority—white, straight people. The majority still has a much stronger voice. Use it to amplify positive portrayals of the people who need them the most.

As with anything else, when in doubt, ask.

Look for editors who specifically offer sensitivity reading as part of their processes. Many editors, like those at Shalamar, offer diversity feedback as a matter of course.  Here’s an additional resource to check out if you are incorporating diversity in your work:

Writing Diversity Checklist

We welcome respectful discussion–if you have questions or comments, debra is here to discuss.

Shalamar is a book publishing and author advocacy company based in New Orleans, Louisiana. Created in 2016 by a trio of writers, Shalamar aims to break down barriers to entry in publishing by offering accessible and affordable services to new and undiscovered writers.

The company also supports initiatives to amplify voices from underrepresented and marginalized groups. They can be found at @shalamarllp on Facebook and @ShalamarNOLA everywhere else.

Deborah Dixon is a cofounder, author, and editor at Shalamar . She has published two novels, seven novellas, and numerous short stories of her own.

She is a digital rights and racial justice activist, and her opinions on social issues, the publishing process, and Saints football can be found on Twitter at @Deboracracy .

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers , a portal to powerful, innovative tools to help writers elevate their storytelling.

Share this:

• Click to share on Twitter (Opens in new window)
• Click to share on Facebook (Opens in new window)
• Click to share on Pinterest (Opens in new window)
• Click to share on LinkedIn (Opens in new window)
• Click to share on Tumblr (Opens in new window)
• Click to email a link to a friend (Opens in new window)
• Click to share on Reddit (Opens in new window)
• Click to print (Opens in new window)

Reader Interactions

October 18, 2020 at 10:26 am

I believe that books are the essence of who we are and who we dream of being. Therefore, representation is a crucial component in building the identity of an individual and its sense of belonging. Reading about someone who looks like you makes you feel that you can achieve anything and that you truly belong in the society. Seeing someone just like me being reflected in a book makes me feel that I’m not the outsider that I always thought I was. However, there is indeed a lack of representation of minority groups in books. I totally agree that the lack of representation has become an important issue in literature and that minorities should be depicted more in books. In that being said however, any representation should not be accepted just because of the lack of it. Disrespectful and damaging representations of minorities should not be tolerated just for the sake of finally being represented in books.

August 13, 2019 at 11:26 pm

Great stuff, and the Shalamar tips before publishing are excellent and extensive! Thanks for this. Will help my Gr 12 English class think oppressive representation that occurs in some of these more subtle ways.

August 13, 2019 at 11:40 pm

August 22, 2019 at 3:51 pm

Thank you so much Wes, and best wishes for your English class! Glad you found this information and the resources helpful. Feel free to reach out if I can help further!

October 12, 2018 at 12:08 am

As a Native American author, I want to thank you for this post. Keep fighting the good fight!

It is hard to find books where people like me aren’t A) Sexy Shifters B) Poor C) Swindlers

Which is funny, since none of the Lenni-Lenape people that I know are any of those. Hang on… *runs outside, looks at the moon, tries real real extra super hard* Nope. Still not a shifter. Darn. 😉

My people also didn’t wear huge feather headdresses, live in teepees, say “howgh” for hello, or most of the other traits that perhaps were exhibited in the western tribes. We did, however, influence the creation of the original laws of this country, such as the Constitution and Bill of Rights. Obviously not well enough to be considered human until 1879, or be eligible to be citizen of the land we’d lived on for thousands of years until 1924, or get the Voting Rights Act fully nailed down (looking at two states right now…). But hey, we tried.

If anyone out there does have a book with well-written Lenni-Lenape characters, please track me down and drop a buy link. I’m always looking!

October 12, 2018 at 2:24 pm

Preach it! I would love to sit many, many non-Native writers (sadly, including some Black ones) down and have them write this sentence a few hundred times:

Native American communities are NOT monolithic.

As you can see above, I refuse to let Rowling live it down.

If anyone out there has a story will well-developed Lenni-Lenape characters, I just might publish it. 😉

October 11, 2018 at 10:02 pm

That’s definitely some great stuff, and I largely agree. I do take issue with simply saying there are some things you should “never do.” For example, making an autistic character have some unique strange ability can work if it’s done well or the usual cliches of the trope are subverted.

I’m not saying that just for the sake of debate. I have autism myself, and my current story in progress plays on that trope.

October 12, 2018 at 2:13 pm

Thank you Claire! And thanks for checking out our list!

The things that made it onto the Never-Do list aren’t there because they can’t be done well, but because when they are done (well or otherwise), they consistently cause harm to real, living people of that particular group.

Regarding autistic characters, I’ll go and change my wording on the list, but I did think specifically of powers that are related to a character’s autism, correcting the ‘imbalance’ of the disability. (An autistic character with, say, lightning powers, unrelated to her autism, would probably be okay.)

Objectively, a disability-superpower autistic character could possibly be done well, especially by an autistic writer, but I respectfully disagree that the character *should* be done even so. Even if the character was brilliant and an excellent role model, like a neurodivergent Wonder Woman, she would still be perpetrating objectifying stereotypes about how we need a ‘cure’ to balance out our deficiencies. It also isolates a model minority within the autistic community, as it elevates ‘superhuman’ autistics (ie savants) above others on the spectrum, valuing them more and devaluing the others as useless or helpless.

(Here’s an article that goes into model minorities more: https://www.hollywoodreporter.com/news/why-good-doctor-is-bad-medicine-autism-1098809 )

So while this kind of character could work from a character-development standpoint, her existence would cause strain on those of us (like you and me) who deal with autism stereotypes regularly. My opinion is that the character isn’t worth the harm done, but we likely have different experiences and observations that lead to different conclusions. 🙂

October 11, 2018 at 9:15 pm

Wonderful! Very revelant!

October 12, 2018 at 1:29 pm

Thanks for reading, Traci!!

October 11, 2018 at 2:03 pm

First of all, Who Dat!!!

Thank you so much for writing this article, Deborah. I loved that you explained that a writer needs to remember that diverse characters are still human beings. I also hate that you had to say that.

I had a small press from Mississippi, where I’m from, reach out to me about wanting to work with me. The minute they found out I was a lesbian they quickly let me know that they could not work with a story with LGBTQ+ characters, because they wouldn’t know how to market it. It was shocking and saddening. Needless to say, I did not work with them.

Thank you again, and I look forward to checking out your company and your work!

October 11, 2018 at 4:12 pm

Yeah you rite Keli!!!!

I’m sorry to hear about your experience with that press! And yet I’m not surprised. The inclusion of underrepresented writers ourselves is another topic that I’m passionate about, and fortunately I get to work toward that goal through Shalamar.

Being treated that way, particularly by a press that sought you out, had to have stung, and rightfully so; but, with the benefit of hindsight, people that closed-minded would have been rough to work with anyway, so maybe it was for the better, rudeness and prejudice aside.

(Marketing professionals are specifically taught to adapt to different audience, genres, and trends, so that excuse is always code for “we don’t want to work with you.”)

I hope you found a much better home for your writing, and would love to hear from you anytime!

October 11, 2018 at 10:23 am

Glad to have you here discussing something that I think confuses a lot of people because sometimes we can see part of the picture, but not the whole thing and so we don’t necessarily realize the ripples that come from stereotypes or the level of inequity out there.

In our fiction it is our job to make the reader feel part of another’s point of view. I think as a Caucasian and a Caucasian author, I need to work harder to do what I can to make sure all voices are represented. Change comes about through understanding, and this happens at all levels from governing entities to the drivers of industries to the producers of content and the consumers of that content.

Thanks for being here!

October 11, 2018 at 9:06 am

Hi everyone! Angela, thank you SO MUCH for your help and your kindness! You are an inspiration to me as an author advocate. <3

Readers: Thanks for checking out this article! I am happy to answer any further questions you might have here. You can also contact me directly if you'd prefer a one-on-one conversation.

Much love from New Orleans!

October 11, 2018 at 9:03 am

Thanks for being here today, Deborah!

October 11, 2018 at 3:59 pm

Hi Becca! Thanks for having me! 🙂

[…] Ackerman talks about the importance of inclusivity and perception.   Inclusivity prescribes that the characters in the texts that we use should be as […]

[…] Deborah Dixon examine representation in literature: why it’s important and how to handle it. […]

Look up a word, learn it forever.

Representation, /rɛprɪzɛnˈteɪʃɪn/, /rɛprəzɛnˈteɪʃən/.

Other forms: representations

A representation acts or serves on behalf or in place of something. A lawyer provides legal representation for his client. A caricature is an exaggerated representation or likeness of a person.

Representation comes from the Latin repraesentare meaning "bring before, exhibit." A representation is an exhibit, whether it comes in the form of legal guidance or in the form of artistic expression. The act of representation has to do with replacing or acting on behalf of an original. Elected officials serve as the representation for their constituency — or at least it's supposed to work that way.

• noun the act of representing; standing in for someone or some group and speaking with authority in their behalf see more see less types: proportional representation representation of all parties in proportion to their popular vote type of: cooperation joint operation or action
• noun a presentation to the mind in the form of an idea or image synonyms: internal representation , mental representation see more see less types: show 44 types... hide 44 types... convergence , intersection , overlap a representation of common ground between theories or phenomena instantiation a representation of an idea in the form of an instance of it antitype a person or thing represented or foreshadowed by a type or symbol; especially a figure in the Old Testament having a counterpart in the New Testament stereotype a conventional or formulaic conception or image schema , scheme an internal representation of the world; an organization of concepts and actions that can be revised by new information about the world image , mental image an iconic mental representation interpretation , reading , version a mental representation of the meaning or significance of something phantasmagoria a constantly changing medley of real or imagined images (as in a dream) psychosexuality the mental representation of sexual activities percept , perception , perceptual experience the representation of what is perceived; basic component in the formation of a concept memory something that is remembered example , model a representative form or pattern appearance a mental representation blur , fuzz a hazy or indistinct representation abstractionism , unrealism a representation having no reference to concrete objects or specific examples concrete representation , concretism a representation of an abstract idea in concrete terms reminiscence a mental impression retained and recalled from the past crossroads a point where a choice must be made interface the overlap where two theories or phenomena affect each other or have links with each other imagination image , thought-image a mental image produced by the imagination reinterpretation a new or different meaning figure a unitary percept having structure and coherence that is the object of attention and that stands out against a ground ground a relatively homogeneous percept extending back of the figure on which attention is focused visual image , visual percept a percept that arises from the eyes; an image in the visual system recollection something recalled to the mind engram , memory trace a postulated biochemical change (presumably in neural tissue) that represents a memory confabulation (psychiatry) a plausible but imagined memory that fills in gaps in what is remembered screen memory an imagined memory of a childhood experience; hides another memory of distressing significance memory image a mental image of something previously experienced visual image , visualisation , visualization a mental image that is similar to a visual perception impression , mental picture , picture a clear and telling mental image auditory image a mental image that is similar to an auditory perception loadstar , lodestar something that serves as a model or guide epitome , image , paradigm , prototype a standard or typical example holotype , type specimen the original specimen from which the description of a new species is made microcosm a miniature model of something archetype , original , pilot something that serves as a model or a basis for making copies guide , template , templet a model or standard for making comparisons prefiguration an example that prefigures or foreshadows what is to come illusion , semblance an erroneous mental representation 3-D , 3D , three-D having a three-dimensional form or appearance front the outward appearance of a person embodiment , shape a concrete representation of an otherwise nebulous concept anagoge a mystical or allegorical interpretation (especially of Scripture) type of: cognitive content , content , mental object the sum or range of what has been perceived, discovered, or learned
• noun an activity that stands as an equivalent of something or results in an equivalent see more see less types: show 14 types... hide 14 types... model , modeling , modelling the act of representing something (usually on a smaller scale) dramatisation , dramatization a dramatic representation pageant , pageantry an elaborate representation of scenes from history, etc.; usually involves a parade with rich costumes figuration representing figuratively as by emblem or allegory diagramming , schematisation , schematization providing a chart or outline of a system pictorial representation , picturing visual representation as by photography or painting typification the act of representing by a type or symbol; the action of typifying simulation the act of imitating the behavior of some situation or some process by means of something suitably analogous (especially for the purpose of study or personnel training) guerrilla theater , street theater dramatization of a social issue; enacted outside in a park or on the street puppetry a stilted dramatic performance (as if by puppets) symbolising , symbolizing the act of representing something with a symbol delineation , depiction , portrayal representation by drawing or painting etc imaging , tomography (medicine) obtaining pictures of the interior of the body photography , picture taking the act of taking and printing photographs type of: activity any specific behavior
• noun a creation that is a visual or tangible rendering of someone or something see more see less types: show 120 types... hide 120 types... adumbration a sketchy or imperfect or faint representation audiogram a graphical representation of a person's auditory sensitivity to sound copy a thing made to be similar or identical to another thing cosmography a representation of the earth or the heavens creche a representation of Christ's nativity in the stable at Bethlehem cutaway , cutaway drawing , cutaway model a representation (drawing or model) of something in which the outside is omitted to reveal the inner parts display , presentation a visual representation of something document anything serving as a representation of a person's thinking by means of symbolic marks drawing a representation of forms or objects on a surface by means of lines ecce homo a representation (a picture or sculpture) of Jesus wearing a crown of thorns effigy , image , simulacrum a representation of a person (especially in the form of sculpture) illustration a visual representation (a picture or diagram) that is used make some subject more pleasing or easier to understand map a diagrammatic representation of the earth's surface (or part of it) model , simulation a representation of something (sometimes on a smaller scale) nomogram , nomograph a graphic representation of numerical relations objectification a concrete representation of an abstract idea or principle exposure , photo , photograph , pic , picture a representation of a person or scene in the form of a print or transparent slide; recorded by a camera on light-sensitive material icon , ikon , image , picture a visual representation (of an object or scene or person or abstraction) produced on a surface pieta a representation of the Virgin Mary mourning over the dead body of Jesus projection the representation of a figure or solid on a plane as it would look from a particular direction rubbing representation consisting of a copy (as of an engraving) made by laying paper over something and rubbing it with charcoal shade a representation of the effect of shadows in a picture or drawing (as by shading or darker pigment) set , stage set representation consisting of the scenery and other properties used to identify the location of a dramatic production Station of the Cross a representation of any of the 14 stages in Christ's journey to Calvary avatar an electronic image representing a computer user anamorphism , anamorphosis a distorted projection or perspective; especially an image distorted in such a way that it becomes visible only when viewed in a special manner beefcake a photograph of a muscular man in minimal attire bitmap , electronic image an image represented as a two dimensional array of brightness values for pixels black and white , monochrome a black-and-white photograph or slide blueprint photographic print of plans or technical drawings etc. carbon , carbon copy a copy made with carbon paper cast , casting object formed by a mold charcoal a drawing made with a stick of black carbon material chart a map designed to assist navigation by air or sea cheesecake a photograph of an attractive woman in minimal attire chiaroscuro a monochrome picture made by using several different shades of the same color choropleth map a map that uses graded differences in shading or color or the placing of symbols inside defined areas on the map in order to indicate the average values of some property or quantity in those areas closeup a photograph or video taken at close range collage , montage a paste-up made by sticking together pieces of paper or photographs to form an artistic image contour map , relief map a map having contour lines through points of equal elevation daguerreotype a photograph made by an early photographic process; the image was produced on a silver plate sensitized to iodine and developed in mercury vapor delineation , depiction , limning , line drawing a drawing of the outlines of forms or objects diagram a drawing intended to explain how something works; a drawing showing the relation between the parts duplicate , duplication a copy that corresponds to an original exactly blowup , enlargement , magnification a photographic print that has been enlarged autotype , facsimile an exact copy or reproduction figure a model of a bodily form (especially of a person) float an elaborate display mounted on a platform carried by a truck (or pulled by a truck) in a procession or parade foil , transparency picture consisting of a positive photograph or drawing on a transparent base; viewed with a projector frame a single one of a series of still transparent pictures forming a cinema, television or video film globe a sphere on which a map (especially of the earth) is represented glossy a photograph that is printed on smooth shiny paper computer graphic , graphic an image that is generated by a computer Guy an effigy of Guy Fawkes that is burned on a bonfire on Guy Fawkes Day headshot a photograph of a person's head hologram , holograph the intermediate photograph (or photographic record) that contains information for reproducing a three-dimensional image by holography iconography the images and symbolic representations that are traditionally associated with a person or a subject god , graven image , idol a material effigy that is worshipped imitation something copied or derived from an original inset a small picture inserted within the bounds or a larger one clone , knockoff an unauthorized copy or imitation likeness , semblance picture consisting of a graphic image of a person or thing longshot a photograph taken from a distance map projection a projection of the globe onto a flat map using a grid of lines of latitude and longitude mechanical drawing scale drawing of a machine or architectural plan etc, microdot photograph reduced to the size of a dot (usually for purposes of security) miniature , toy a copy that reproduces a person or thing in greatly reduced size mock-up full-scale working model of something built for study or testing or display modification slightly modified copy; not an exact copy arial mosaic , mosaic , photomosaic arrangement of aerial photographs forming a composite picture mug shot , mugshot a photograph of someone's face (especially one made for police records) cyclorama , diorama , panorama a picture (or series of pictures) representing a continuous scene pen-and-ink a drawing executed with pen and ink photocopy a photographic copy of written or printed or graphic work photographic print , print a printed picture produced from a photographic negative photomicrograph a photograph taken with the help of a microscope architectural plan , plan scale drawing of a structure planetarium an apparatus or model for representing the solar systems plat a map showing planned or actual features of an area (streets and building lots etc.) plate a full-page illustration (usually on slick paper) print a copy of a movie on film (especially a particular version of it) quadruplicate any four copies; any of four things that correspond to one another exactly radiogram , radiograph , shadowgraph , skiagram , skiagraph a photographic image produced on a radiosensitive surface by radiation other than visible light (especially by X-rays or gamma rays) restoration a model that represents the landscape of a former geological age or that represents and extinct animal etc. reflection , reflexion the image of something as reflected by a mirror (or other reflective material) rendering perspective drawing of an architect's design replica , replication , reproduction copy that is not the original; something that has been copied road map a map showing roads (for automobile travel) roughcast a rough preliminary model CAT scan , scan an image produced by scanning bird-scarer , scarecrow , scarer , straw man , strawman an effigy in the shape of a man to frighten birds away from seeds scene , scenery the painted structures of a stage set that are intended to suggest a particular locale doodle , scrabble , scribble an aimless drawing silhouette a drawing of the outline of an object; filled in with some uniform color silverpoint a drawing made on specially prepared paper with an instrument having a silver tip (15th and 16th centuries) sketch , study preliminary drawing for later elaboration sketch map a map drawn from observation (rather than from exact measurements) and representing the main features of an area shot , snap , snapshot an informal photograph; usually made with a small hand-held camera Snellen chart display consisting of a printed card with letters and numbers in lines of decreasing size; used to test visual acuity echogram , sonogram an image of a structure that is produced by ultrasonography (reflections of high-frequency sound waves); used to observe fetal growth or to study bodily organs spectacle an elaborate and remarkable display on a lavish scale spectrogram , spectrograph a photographic record of a spectrum stereo , stereoscopic photograph , stereoscopic picture two photographs taken from slightly different angles that appear three-dimensional when viewed together stick figure drawing of a human or animal that represents the head by a circle and the rest of the body by straight lines still a static photograph (especially one taken from a movie and used for advertising purposes) telephoto , telephotograph a photograph made with a telephoto lens telephotograph a photograph transmitted and reproduced over a distance time exposure a photograph produced with a relatively long exposure time trace , tracing a drawing created by superimposing a semitransparent sheet of paper on the original image and copying on it the lines of the original image triplicate one of three copies; any of three things that correspond to one another exactly vignette a photograph whose edges shade off gradually wax figure , waxwork an effigy (usually of a famous person) made of wax weather chart , weather map (meteorology) a map showing the principal meteorological elements at a given time and over an extended region wedding picture photographs of bride and groom and their friends taken at their wedding xerox , xerox copy a copy made by a xerographic printer scene , shot a consecutive series of pictures that constitutes a unit of action in a film letter , missive a written message addressed to a person or organization diorama a three-dimensional representation of a scene, in miniature or life-size, with figures and objects set against a background selfie a photograph that you take of yourself, typically with a digital camera pastel a drawing made with pastel sticks type of: creation an artifact that has been brought into existence by someone
• noun a performance of a play synonyms: histrionics , theatrical , theatrical performance see more see less types: matinee a theatrical performance held during the daytime (especially in the afternoon) type of: performance , public presentation a dramatic or musical entertainment
• noun a factual statement made by one party in order to induce another party to enter into a contract “the sales contract contains several representations by the vendor” see more see less type of: statement a message that is stated or declared; a communication (oral or written) setting forth particulars or facts etc
• noun a statement of facts and reasons made in appealing or protesting “certain representations were made concerning police brutality” see more see less type of: statement a message that is stated or declared; a communication (oral or written) setting forth particulars or facts etc
• noun the state of serving as an official and authorized delegate or agent synonyms: agency , delegacy see more see less types: free agency (sports) the state of a professional athlete who is free to negotiate a contract to play for any team legal representation personal representation that has legal status virus a harmful or corrupting agency type of: state the way something is with respect to its main attributes
• noun the right of being represented by delegates who have a voice in some legislative body see more see less type of: right an abstract idea of that which is due to a person or governmental body by law or tradition or nature
• noun a body of legislators that serve in behalf of some constituency “a Congressional vacancy occurred in the representation from California” see more see less type of: body a group of persons associated by some common tie or occupation and regarded as an entity

Vocabulary lists containing representation

The Colonies–Reconstruction (1600s–1877)

Declare your independence and master these words related to the American Revolution. Learn all about the conflict between the colonists and the redcoats, from the Boston Tea Party to the British surrender at Yorktown. Explore causes of the war and review major battles, key historical figures, and the structure of the new American republic.

To punish Massachusetts for the Boston Tea Party, the British Parliament enforced acts that the colonies found intolerable. In response, they convened the First Continental Congress in 1774 to outline a list of grievances, rights, and resolves. Read the full text here . Here are links to our lists for other notable declarations: Declaration of Colonial Rights , Declaration of the Rights of Man , Declaration of the Rights of Woman , Universal Declaration of Human Rights

Sign up now (it’s free!)

Whether you’re a teacher or a learner, vocabulary.com can put you or your class on the path to systematic vocabulary improvement..

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Critical Review on “The Work of Representation” by Stuart Hall

Related Papers

Merve Oruc Merve Oruc

Riccardo Agostini

Open Journal of Philosophy

ifeoma ojiakor

Dave Edwards

"We obtain the concept, as we do the form, by overlooking what is individual and actual; whereas nature is acquainted with no forms and no concepts, and likewise with no species, but only with an X which remains inaccessible and undefinable for us."-Fredrich Neitzsche, from 'On Truth and Lie in an Extra-Moral Sense' (1873) The intention of this essay and previous ones is not to make a vague proclamation that "Art and creativity can change the world, man", I merely wanted to highlight the way in which this form of image based and conceptual language can portray reality. I also wanted to demonstrate with this exploration of portrayal how easy it is for the mind to mistake concepts and representations for reality. This is ever more prescient in the sea of the virtual in which many of us now spend so much of our lives swimming in. The technocratic era in which most of us find ourselves is one which now consists of experiencing reality through John Dee's dark scrying mirror of the screen. Through the screen it is easy to talk about idealised ways in which we all claim that we see the world, and as a result implicitly abridged ideologies are seen as real. The bite sized glimpses at the tips of ones fingertips can frequently lead to a mass induced delusion where it is all too easy to arrogantly confuse the map for the territory. ... http://www.whenthenewsstops.org/2016/08/language-and-representations.html

Yair Neuman

From the cell to the human brain, "reality" is always mediated. This postulate portrays living systems as "meaning making", because they must map sensed signals into signaling pathways through which representations and behavior are formed. In this paper, I present prolegomena to a future theory of meaning making, which is grounded in basic tenets of semiotics, while at the same time point to the way this prolegomenon may help us to understand meaning making stretching from the pre-linguistic realm upward. The idea of "meaning making" is grounded in the very basic fact that from the bacteria to the human being, reality is always mediated. Having a boundary with the environment and the need to operate on the environment are just two reasons explaining why living systems have developed various ways for representing certain portions of the environment and operating on these representations. In other words, meaning making in living systems is grounded in the basic fact that reality is always mediated and cannot be directly approached through "intuition" as clearly argued by Peirce (W2: 193). The representations formed by human and non-human organisms alike, are clearly not simple maps of "The" environment; The map is not the territory, the bacterium's representation of the environment cannot be confused with its environment and our own scientific models of reality, successful as they may be, involve only partial maps of reality. Therefore, the basic understanding of "meaning

Per Aage Brandt

Camila Amaral

Dr Kulvinder Panesar

Michael K Bergman

The MIT Press eBooks

Simo Vihjanen

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

Gerald J Davey

Denise Gamble

Pim Haselager

Jesús G Martínez del Castillo

Retrieved January

Bal Chandra Luitel

Old questions, new answers: quality criteria for museum education, Procedengs of the ICOM CECA '11 Conference

Denis Detling

Editorial Department

Theory & Psychology

Brady Wagoner

Wayne Christensen , Cliff Hooker

Piotr Wilkin

Farid Zahnoun

Peter Gardenfors

Winfried Nöth

Willis Overton

Journal of Archaeological Method and Theory 16.3: 157-161

Stratos Nanoglou

tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society

w.a cameron

From H.G. Callaway 2008, Meaning without Analyticity, pp. 49-72

H.G. Callaway

Patrick Hanks

Cognitive Systems Research

John Bateman

Petros A. M. Gelepithis

Gabriel Vacariu

Christopher Ryan Maboloc

Paul Kockelman

Metaphilosophy

Frank Ankersmit

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Symbolic Representation in Art – Definition, Examples, History & More – Art Education and Methodologies Glossary

Table of Contents

What is Symbolic Representation in Art?

Symbolic representation in art refers to the use of symbols, images, or objects to convey deeper meanings or ideas within a work of art. These symbols can be cultural, religious, political, or personal in nature, and are often open to interpretation by the viewer.

Symbolic representation allows artists to communicate complex concepts or emotions in a visual language that transcends words. It adds layers of meaning to a piece of art, inviting viewers to engage with the work on a deeper level and uncover hidden messages or themes.

History of Symbolic Representation in Art

The use of symbolic representation in art dates back to ancient civilizations, where symbols were used to communicate ideas, beliefs, and stories. In Egyptian art, for example, the Ankh symbolized life, while the Eye of Horus represented protection and healing.

During the Renaissance, artists like Leonardo da Vinci and Michelangelo incorporated symbolic elements into their works to convey religious or philosophical ideas. The use of symbols continued to evolve in the Baroque and Romantic periods, with artists like Caravaggio and William Blake using symbolism to express emotion and spirituality.

Techniques of Symbolic Representation in Art

There are various techniques artists use to incorporate symbolic representation into their work. One common technique is the use of allegory, where objects or figures represent abstract concepts or moral qualities. For example, a dove may symbolize peace, while a snake could represent evil.

Another technique is the use of color symbolism, where certain colors are used to evoke specific emotions or ideas. In Western art, for example, red is often associated with passion or danger, while blue is linked to tranquility or spirituality.

Examples of Symbolic Representation in Art

One famous example of symbolic representation in art is Leonardo da Vinci’s “The Last Supper,” where the placement of figures and objects conveys the betrayal of Jesus by Judas. The use of light and shadow in Caravaggio’s paintings also adds symbolic depth to his work, highlighting themes of redemption and salvation.

In more contemporary art, artists like Frida Kahlo and Salvador Dali used symbolism to explore personal struggles and political issues. Kahlo’s self-portraits, for example, often feature symbolic elements like monkeys or thorns to convey her emotions and experiences.

Importance of Symbolic Representation in Art

Symbolic representation plays a crucial role in art by adding layers of meaning and depth to a work. It allows artists to communicate complex ideas or emotions in a visual language that is accessible to a wide audience. Symbolism also invites viewers to engage with a piece of art on a deeper level, encouraging them to think critically and interpret the work in their own unique way.

By using symbols, artists can create universal connections with viewers, transcending language and cultural barriers. Symbolic representation in art helps to bridge the gap between the artist’s intentions and the viewer’s understanding, fostering a deeper appreciation and connection to the work.

Contemporary Use of Symbolic Representation in Art

In contemporary art, symbolic representation continues to be a powerful tool for artists to explore complex themes and ideas. Artists like Ai Weiwei and Kara Walker use symbolism to address social and political issues, sparking conversations and raising awareness about important topics.

Symbolic representation is also used in multimedia art forms, such as video installations and performance art, where artists combine visual, auditory, and tactile symbols to create immersive experiences for viewers. This multidimensional approach to symbolism allows artists to engage with audiences in new and innovative ways, pushing the boundaries of traditional art forms.

JerwoodVisualArts

Hundreds of articles, guides and free resources

Email: [email protected]

Follow Us !

Copyright © 2024 All Rights Reserved

Privacy policy

Cookie Policy

An Introduction to Representational Art

Creating Art from Life

• Art History
• Architecture

The word "representational," when used to describe a work of art , means that the work depicts something easily recognized by most people. Throughout our history as art-creating humans,  most  art has been representational. Even when art was symbolic, or non-figurative, it was usually representative of something. Abstract (non-representational) art is a relatively recent invention and didn't evolve until the early 20th-century.

What Makes Art Representational?

There are three basic types of art: representational, abstract, and non-objective. Representational is the oldest, best-known, and most popular of the three.

Abstract art typically starts with a subject that exists in the real world but then presents those subjects in a new way. A well-known example of abstract art is Picasso's Three Musicians.  Anyone looking at the painting would understand that its subjects are three individuals with musical instruments–but neither the musicians nor their instruments are intended to replicate reality.

Non-objective art does not, in any way, replicate or represent reality. Instead, it explores color, texture, and other visual elements without reference to natural or constructed world. Jackson Pollock, whose work involved complex splatters of paint, is a good example of a non-objective artist.

Representational art strives to depict reality. Because representational artists are creative individuals, however, their work need not look precisely like the object they are representing. For example, Impressionist artists such as Renoir and Monet used patches of color to create visually compelling, representative paintings of gardens, people, and locations.

History of Representational Art

Representational art got its start many millennia ago with Late Paleolithic figurines and carvings. Venus of Willendorf , while not too terribly realistic, is clearly meant to show the figure of a woman. She was created around 25,000 years ago and is an excellent example of the earliest representational art.

Ancient examples of representational art are often in the form of sculptures, decorative friezes, bas-reliefs, and busts representing real people, idealized gods, and scenes from nature. During the middle ages, European artists focused largely on religious subjects.

During the Renaissance, major artists such as Michaelangelo and Leonardo Da Vinci created extraordinarily realistic paintings and sculptures. Artists were also commissioned to paint portraits of members of the nobility. Some artists created workshops in which they trained apprentices in their own style of painting.

By the 19th century, representative artists were beginning to experiment with new ways of expressing themselves visually. They were also exploring new subjects: instead of focusing on portraits, landscapes, and religious subjects, artists experiments with socially relevant topics related to the Industrial Revolution.

Present Status

Representational art is thriving. Many people have a higher degree of comfort with representational art than with abstract or non-objective art. Digital tools are providing artists with a wider range of options for capturing and creating realistic images. 

Additionally, the workshop (or atelier) system continues to exist, and many of these teach figurative painting exclusively. One example is the School of Representational Art in Chicago, Illinois. There are also whole societies dedicated to representational art. Here in the United States, the Traditional Fine Arts Organization comes quickly to mind. A web search using the keywords of "representational + art + (your geographical location)" should turn up venues and/or artists in your area.

• What Is the Definition of Non-Objective Art?
• Vasily Kandinsky: His Life, Philosophy, and Art
• Origins and Schools of Abstract Art
• Biography of Milton Avery, American Modernist Painter
• Overview of the Op Art Movement
• 6 Realistic Styles in Modern Art
• Biography of Kazimir Malevich, Russian Abstract Art Pioneer
• The Life and Art of Mark Rothko
• Life and Work of Piet Mondrian, Dutch Abstract Painter
• Ways of Defining Art
• Biography of Cy Twombly, Romantic Symbolist Artist
• Grace Hartigan: Her Life and Work
• Introduction to Landscape Painting
• What Is Nonrepresentational Art?
• Biography of Robert Delaunay, French Abstract Painter
• What Is Analytic Cubism in Art?

• Cambridge Dictionary +Plus

Meaning of representation in English

Your browser doesn't support HTML5 audio

representation noun ( ACTING FOR )

• Defendants have a right to legal representation and must be informed of that right when they are arrested .
• The farmers demanded greater representation in parliament .
• The main opposing parties have nearly equal representation in the legislature .
• The scheme is intended to increase representation of minority groups .
• The members are chosen by a system of proportional representation.
• admissibility
• extinguishment
• extrajudicial
• extrajudicially
• fatal accident inquiry
• federal case
• pettifoggery
• pettifogging
• plea bargain
• plea bargaining
• the Webster ruling
• walk free idiom
• witness to something

representation noun ( DESCRIPTION )

• anti-realism
• anti-realist
• complementary
• confederate
• naturalistically
• non-figurative
• non-representational
• representational
• symbolization
• ultrarealism

representation noun ( INCLUDING ALL )

• all manner of something idiom
• alphabet soup
• it takes all sorts (to make a world) idiom
• non-segregated
• odds and ends
• of every stripe/of all stripes idiom
• this and that idiom
• variety is the spice of life idiom
• wide choice

representation | Business English

Examples of representation, collocations with representation.

• representation

These are words often used in combination with representation .

Click on a collocation to see more examples of it.

Translations of representation

Get a quick, free translation!

Word of the Day

left-handed

(of a person) using their left hand to write and do most things

Robbing, looting, and embezzling: talking about stealing

Learn more with +Plus

• Recent and Recommended {{#preferredDictionaries}} {{name}} {{/preferredDictionaries}}
• Definitions Clear explanations of natural written and spoken English English Learner’s Dictionary Essential British English Essential American English
• Grammar and thesaurus Usage explanations of natural written and spoken English Grammar Thesaurus
• Pronunciation British and American pronunciations with audio English Pronunciation
• English–Chinese (Simplified) Chinese (Simplified)–English
• English–Chinese (Traditional) Chinese (Traditional)–English
• English–Dutch Dutch–English
• English–French French–English
• English–German German–English
• English–Indonesian Indonesian–English
• English–Italian Italian–English
• English–Japanese Japanese–English
• English–Norwegian Norwegian–English
• English–Polish Polish–English
• English–Portuguese Portuguese–English
• English–Spanish Spanish–English
• English–Swedish Swedish–English
• Dictionary +Plus Word Lists
• representation (ACTING FOR)
• representation (DESCRIPTION)
• representation (INCLUDING ALL)
• make representations to sb
• Collocations
• Translations
• All translations

To add representation to a word list please sign up or log in.

Add representation to one of your lists below, or create a new one.

{{message}}

Something went wrong.

There was a problem sending your report.

Employee representation

Employee representation can be defined as an employee’s right to seek a union or individual to represent them for the purpose of negotiating with management on issues such as wages, hours, benefits and working conditions. In the workplace, workers may be represented by a trade union or other representatives

Employee representation can be defined as an employee’s right to seek a union or individual to represent them for the purpose of negotiating with management on issues such as wages, hours, benefits and working conditions. In the workplace, workers may be represented by a trade union or other representatives in the following cases:

• on disciplinary and grievance matters
• on works councils or other consultative bodies
• for the collective bargaining of terms and conditions
• when making workforce agreements
• on joint working groups

Historical development

Together with the principle of improving living and working conditions, the issue of labour in the enterprise was originally envisaged in terms of the free movement of workers as a key asset to be gained through the benefits of the common market. Arguably, employee representation in all its diversity – at both EU and Member State levels in the form of macro-level national dialogue, collective bargaining at intersectoral and sectoral levels, and collective participation in decision-making at the workplace – has since emerged as a cornerstone of the European social model in terms of employment and industrial relations in the EU.

Background and status

Employee representation is rooted in the Member States’ labour laws on trade unions and the representation of workers at workplace and enterprise levels. It may encompass a range of issues concerning, for example, working practices, conduct at work, and health and safety. Employee representation is most closely associated with trade unions, both at the macro level of consultation or dialogue (which influences major issues of social and economic policy) and in collective bargaining (which determines pay and other terms and conditions of employment). It can also be seen in various forms of participation by workers, including works councils and enterprise committees.

Collective employee representation was first made mandatory by two EU directives related to restructuring processes at the company level, and only under certain conditions: Council Directive 75/129 on collective redundancies and Council Directive 77/187 relating to the safeguarding of employees’ rights in the event of transfers of undertakings. However, over time, the requirement of employee representation has broadened and deepened to become an important principle of the European social model.

• Council of the European Communities:  Council Directive 75/129/EEC of 17 February 1975 on the approximation of the laws of the Member States relating to collective redundancies
• Council of the European Communities:  Council Directive 77/187/EEC of 14 February 1977 on the approximation of the laws of the Member States relating to the safeguarding of employees’ rights in the event of transfers of undertakings, businesses or parts of businesses

Regulatory aspects

Directives concerning employee information and consultation have further developed the principle of mandatory employee representation. First, in Community-scale undertakings and Community-scale groups of undertakings, Council Directive 2009/38/EC requires the establishment of a European works council or a procedure for the purposes of informing employees and consulting with them, if requested by employees or their representatives. Second, Council Directive 2001/86/EC stipulates employee involvement in European companies in the form of the information and consultation of employees and, in some cases, board-level participation.

• European Parliament and the Council of the European Union:  Directive 2009/38/EC of the European Parliament and of the Council of 6 May 2009 on the establishment of a European Works Council or a procedure in Community-scale undertakings and Community-scale groups of undertakings for the purposes of informing and consulting employees
• Council of the European Union:  Council Directive 2001/86/EC of 8 October 2001 supplementing the Statute for a European company with regard to the involvement of employees

Furthermore, Council Directive 2002/14 establishes a framework for informing employees and consulting with them in the European Community, while Council Directive 2003/72/EC provides information, consultation and participation rights to workers in European cooperative companies.

• European Parliament and the Council of the European Union:  Directive 2002/14/EC of the European Parliament and of the Council of 11 March 2002 establishing a general framework for informing and consulting employees in the European Community – Joint declaration of the European Parliament, the Council and the Commission on employee representation
• Council of the European Union:  Council Directive 2003/72/EC of 22 July 2003 supplementing the Statute for a European Cooperative Society with regard to the involvement of employees

In addition, the Charter of Fundamental Rights of the European Union, which was adopted in 2000 and included in the Treaty of Lisbon in 2007, includes a worker’s right to information and consultation within the undertaking (Article 27). The article states that workers or their representatives must be guaranteed information and consultation in good time in the cases and under the conditions provided for by Community law and national laws and practices.

• European Commission:  EU Charter of Fundamental Rights
• Legislation:  Treaty of Lisbon

In 2012, the European Commission launched a fitness check on the information and consultation of workers included in three EU directives: Directive 2002/14/EC establishing a general framework for informing and consulting employees in the European Community; the information and consultation provisions contained in Directive 98/59/EC on collective redundancies; and Directive 2001/23/EC on the transfers of undertakings.

The results of this fitness check, which were published in July 2013 in a staff working document, showed that the three directives were generally relevant, effective, coherent and mutually reinforcing, and that the benefits they generated were likely to outweigh the costs. Two shortcomings that were noted were that a significant share of the workforce was not covered by the provisions (due to the exclusion of small businesses, public administration and seafarers) and that there was room for improvement in their application, particularly in countries with less well-developed information and consultation traditions. However, as of 2019, the European Commission has not taken any initiative to update or consolidate these three directives.

• Council of the European Union:  Council Directive 98/59/EC of 20 July 1998 on the approximation of the laws of the Member States relating to collective redundancies
• Council of the European Union:  Council Directive 2001/23/EC of 12 March 2001 on the approximation of the laws of the Member States relating to the safeguarding of employees’ rights in the event of transfers of undertakings, businesses or parts of undertakings or businesses
• European Commission:  Commission staff working document: ‘Fitness check’ on EU law in the area of information and consultation of workers

In 2016, the European Trade Union Confederation (ETUC) published a position paper calling for a new directive to reinforce the information and consultation rights and the participation of employees’ representatives at board level. [1] This demand featured again in its resolution entitled ‘Strategy for more democracy at work’, adopted at its congress in 2018. [2]

Related dictionary terms

Charter of Fundamental Rights of the European Union  ;  collective bargaining  ;  collective industrial relations  ;  collective organisation of the social partners  ;  ETUC  ;  European company  ;  European social model  ;  European works councils  ;  information and consultation  ;  management and labour  ;  participation  ;  representativeness  ;  right to constitute and freedom to join trade unions  ;  trade unions .

• ^ ETUC (2016),  Orientation for a new EU framework on information, consultation and board-level representation rights  , 16 June.
• ^ ETUC (2018),  Strategy for more democracy at work  , 20 March.

Eurofound (2020), Employee representation , European Industrial Relations Dictionary, Dublin https://www.eurofound.europa.eu/en/european-industrial-relations-dictionary/employee-representation

• Request new password
• Create a new account

Media and Society

Production, content and participation, student resources, meaning, representation and power, chapter introduction.

The creation and control of meaning-making is critical to the exercise of power.

How is meaning made and controlled?

How does representation work as a social process?

How is meaning used to exercise power?

In this chapter we:

• Define meaning and power.
• Consider how meaning and power are related to one another.
• Examine several fundamental accounts of the relationship between meaning and power: hegemony, ideology, discourse and representation.
• Overview how media representations organise everyday life. 

Cases & Activities

Constructing meanings: #iftheygunnedmedown.

The shooting of Mike Brown, an unarmed black teenager, by police in Ferguson, Missouri in 2014 drew attention to how news organisations draw on social media profiles to depict victims or perpetrators of crime.

Some news organisations ran a photo of Brown in his graduation cap and gown, while many others used a photo of Brown wearing a basketball singlet and making a hand gesture that naïve viewers might interpret as a gang sign.

The use of an image that implied Brown was a member of a gang, prompted many black Americans to post contrasting images from their social media accounts to Twitter using the hashtag #iftheygunnedmedown. Many featured young black men in formal dress for church, military or graduation in one image, while in the other image they wore street wear that could be used to suggest they are gang members.

Like the images used for Brown, people drew attention to the way that selective use of images from their social media profiles could be used to construct very different representations of their identities. By constructing their identity one way or another the media could invoke differing perceptions of the extent to which the use of force by police was legitimate. 

Consider these images. How do the two images of the same individual represent them in different ways? What ‘symbols’ in the images convey different meanings that you associate with that individual? How do the images position the individuals differently in power relationships?

Examine images of yourself on your own social media profile. Find two contrasting images. Consider the way in which the images represent your identity differently. If the media were reporting, could they use the images to tell different stories about your character? Would characteristics like your gender, ethnicity or sexuality be at play in the interpretation of those images? If not, would the images suggest different aspects of your character that might affect your reputation.

Links below to news stories about the #iftheygunnedmedown hashtag.

http://www.buzzfeed.com/mrloganrhoades/how-the-powerful-iftheygunnedmedown-movement-changed-the-con

http://mashable.com/2014/08/12/iftheygunnedmedown-hashtag/

http://time.com/3100975/iftheygunnedmedown-ferguson-missouri-michael-brown/

http://www.cbc.ca/newsblogs/yourcommunity/2014/08/iftheygunnedmedown-calls-out-media-portrayal-of-black-youth-following-michael-brown-shooting.html

Representation as a social process: The Occupy protests and casually-pepper-spray-everything cop meme

Representation is a social system involving the continuous production and circulation of meaning. People interact with each other to represent events. Media representations work inter-textually. That is, meanings are transferred from one text to another. Texts make new arrangements of meanings that often depend on the capacity of readers to ‘decode’ them by understanding them in relation to other texts.

Internet memes demonstrate the inter-textual and social process of representation in action. 

The first image above is an image from a protest at the University of California (Davis) in 2011. The protest was part of the global Occupy movement. When students refused to disband a campus police officer sprayed them with pepper spray. The cop’s act was a ‘violent’ one. As an authority figure he used physical force against people. The police are licensed to do that by the state and the university. The act though is also a symbolic one. When police use force against citizens they demonstrate to them what will happen if they do not obey the law.

The cop’s act set off a change of events where the student protestors, university management, news organisations, and the public interacted with each other in an effort to represent the event in different ways.

The protest was videoed and uploaded to YouTube. In the video the crowd can be heard chanting ‘the whole world is watching’ as the cop sprays the protestors with pepper spray. The protestors captured the act on camera. The protestors understood that they could use video to ‘bear witness’ to the event. In doing so, they were able to ‘re-present’ it. They take the act from its original context and turn it into a media text. That text then circulated rapidly through social networks. The ‘re-presentation’ of the act symbolises the excessive use of force by the powerful. The Occupy protests aimed to represent the ‘99%’ of ordinary people against the world’s privileged ‘1%’. The representation of the cop pepper-spraying the protestors symbolises – ‘stands in’ for – the entrenched privilege and blatant use of power the Occupy movement as protesting against in its slogan ‘we are the 99%’.

The protestors’ videos of the incident became a news story. The university needed to respond to the way the video of the protest represented the institution and its relationship with students. The Chancellor of the university organised a media conference. This was an attempt to ‘counter’ the meanings and narratives circulating in conjunction with the pepper spray video. The university attempted to control how the event was represented. They did that by inviting selected media organisations to the media conference, and excluding students from the venue. The students responded to being excluded by forming a silent protest outside. When the Chancellor eventually emerged they formed a silent guard all the way from the venue to her car. This silent protest was also filmed and the video circulated widely online. The protestors used silence to represent their exclusion. In doing so they drew attention to how the powerful maintain power by controlling who speaks where and when, by attempting to control who gets to represent events. When the Chancellor excluded students from the press conference, she attempted to work with the police and media organisations to control how the event was represented.

Following this event, images of the cop pepper-spraying students were widely reappropriated and recirculated. The pepper-spraying cop ‘represented’ the use of excessive force, the attempt of the powerful to control who gets to speak, the disrespect for democratic values. The cop more broadly represented the use of force against ordinary people, the undermining of democratic rights, and the policing of public space. 

The powerful – like the chancellor and the police – use strategies to attempt to control media representations. They use their relations with media, their resources to organise media events, and control who gets access to those events. In contrast, ordinary people use tacts to resist those meanings.

One way this unfolded with the pepper spray cop was by using the cop as a symbol of excessive power and ‘remixing’ his image into other popular culture texts. The image of the cop worked intertextually to create new representations. In the image above the cop pepper-sprays Bambi. To make sense of this image we need to understand both texts it references: the pepper spray cop and the film Bambi. In the image above, the cop is crudely superimposed over a scene from Bambi. In doing so, the innocence of the scene from Bambi evident in the joyful expressions on the characters’ faces and the colourful animation is juxtaposed with the dark, menacing and violent presence of the cop. The cop is larger than the characters from the animation, towering over them and his head is cropped out of the frame, as if to make him a faceless and distant figure. This image is one of many examples where the cop was super-imposed onto another scene – a movie like Bambi, an important historical moment like the Declaration of Independence, or a cultural icon like a Renaissance painting. The creators of these images were able to repeat this juxtaposition by ‘photo-shopping’ the cop over images in this way. Meaning is created via the repeated gesture of imposing the cop in scenes that evoked the innocence of childhood memory or shared cultural history and values. We can see throughout this example how representation works as a social process, constructing how we understand and act in the world, and a process in which some people have more power than others.

Map out the array of actors involved in attempting to represent the student protest at UC Davis. What were their preferred representations of the event and why? What resources and techniques did they use to create their preferred representations? Who did they interact with to create their preferred representations?

Find other examples of the pepper-spray cop meme.

What texts are referenced in the memes?

How is meaning created in the interplay between the texts?

What do the texts represent?

Links below to the Casually-Pepper-Spray-Everything Cop meme.

Know Your Meme offers a history and explanation of the meme.

http://knowyourmeme.com/memes/casually-pepper-spray-everything-cop

Google image search for the meme.

https://www.google.com/search?safe=off&site=&tbm=isch&source=hp&biw=1920&bih=910&q=casually+pepper+spray+everything+cop&oq=casually+pepper+spray&gs_l=img.3.0.0l2j0i5l3.606.6093.0.6909.39.19.1.8.1.2.446.2413.0j1j3j3j1.8.0....0...1ac.1.52.img..34.5.1361.J65A0TdfUes&gws_rd=ssl

Student video of the protest where the cop pepper-sprays students.

http://www.youtube.com/watch?v=VBntXr1QFnU

News report about the pepper spray incident.

http://www.youtube.com/watch?v=XCJEomwVMrw

Video of students’ silent protest.

http://www.youtube.com/watch?v=nmfIuKelOt4

Fox News description of pepper spray as a ‘food product’.

https://www.youtube.com/watch?v=Qrx6DDgTH_w

Changing meanings

Consider the major societies and ideologies since the beginning of the twentieth century:

• Social Democracy
• Nationalism
• Conservatism

Consider discourses that some of these societies used to organise social and political systems:

• Imperialism: empires can organise development, trade and governance more effectively than indigenous populations.
• Decolonisation: Empires are bad. Indigenous populations should be given independence.
• Human rights: There are universal human values that all societies should respect.

Each of these ideologies was or is taken to be ‘common-sense’. Examine one or more and ask:

• What ideas did they take to be ‘common-sense’ and ‘natural’?
• What institutions, practices, rituals, words and images did they use to convey their ideas?
• Who conveyed the ideas?
• Whose interests did these common-sense ideas serve?
• Who opposed these ideas and why?
• Are these ideas still common-sense? If not, what happened?

Explaining representation with The Wire

In a famous scene in the television drama The Wire three members of a drug gang sit guarding territory called ‘the Pit’ in an inner-city housing estate. The scene uses a metaphor to create meaning between everyday experience, mental concepts and a shared language. The scene illustrates the social nature of representation, how it is embedded within our everyday lives and relationships, and how it embodies and mediates power relationships.

D’Angelo, the leader of the trio sees the two junior members – Wallace and Bodie – playing checkers on a chess board. ‘Hold up you to don’t know how to play chess do you?’ he asks, and sits down to teach them the rules. He begins by picking up the king.

D’Angelo: See this? This the kingpin, a’ight? And he the man. You get the other dude’s king, you got the game. But he trying to get your king too, so you gotta protect it. Now, the king, he move one space any direction he damn choose, ’cause he’s the king. Like this, this, this, a’ight? But he ain’t got no hustle. But the rest of these motherfuckers on the team, they got his back. And they run so deep, he really ain’t gotta do shit.

Bodie : Like your uncle.

D’Angelo : Yeah, like my uncle. You see this? This the queen. She smart, she fast. She move any way she want, as far as she want. And she is the go-get-shit-done piece.

Wallace : Remind me of Stringer.

D’Angelo : And this over here is the castle. It’s like the stash. It can move like this, and like this.

Wallace : Dog, stash don’t move, man.

D’Angelo : C’mon, yo, think. How many time we move the stash house this week? Right? And every time we move the stash, we gotta move a little muscle with it, right? To protect it.

Bodie : True, true, you right. All right, what about them little baldheaded bitches right there?

D’Angelo : These right here, these are the pawns. They like the soldiers. They move like this, one space forward only. Except when they fight, then it’s like this. And they like the front lines, they be out in the field.

Wallace : So how do you get to be the king?

D’Angelo : It ain’t like that. See, the king stay the king, a’ight? Everything stay who he is. Except for the pawns. Now, if the pawn make it all the way down to the other dude’s side, he get to be queen. And like I said, the queen ain’t no bitch. She got all the moves.

Bodie : A’ight, so if I make it to the other end, I win.

D’Angelo : If you catch the other dude’s king and trap it, then you win.

Bodie : A’ight, but if I make it to the end, I’m top dog.

D’Angelo: Nah, yo, it ain’t like that. Look, the pawns, man, in the game, they get capped quick. They be out the game early.

Bodie : Unless they some smart-ass pawns.

D’Angelo explains the rules of chess drawing on the shared conceptual map and language of the inner-city drug trade. In his analysis of the scene, Peter Honig writes:

D’Angelo uses the familiar world of the drug hierarchy to explain an alien and complex game to Bodie and Wallace. At the same time, (the writers) use this scene to explain the (presumably) alien drug game to their audience using the (presumably) familiar rules of chess.

The rules of chess are understood via the world the characters live in, and the rules of the drug trade are understood via the world the audience lives in. Representation maintains power relationships by creating ways of understanding them. Representations make themselves true, ‘all knowledge, once applied in the real world, has real effects, and in that sense at least, ‘becomes true’’ (Hall 1997: 49). We are not outside representations. They constitute us as much as we produce and relate to them. Our representations shape both how we understand the world and how we act in it. They construct a position for us as the ‘reader’ or ‘viewer’, and we work to locate ourselves in relation to them. Representation is the production of social knowledge and therefore the development and maintenance of power relationships. Our way of understanding ourselves, our lives and our material worlds is marked out in relation to others, some of whom have more power to structure the schemas within which we understand the world.

By explaining the rules of chess to his colleagues D’Angelo is marking out the power relationships of the inner-city drug trade. For Honig,

D’Angelo isn’t so much teaching them how to play chess as he is trying to help them see that the world they are in is far more complex than they realise. But they refuse to see it, or at least Bodie does. His questions about promotion show a fundamental misunderstanding of board games, and all games. He keeps using the word ‘I’, as in a single piece standing in as his avatar. He is only capable of seeing the drug game as it applies to him in his limited experience in the Pit. He fails to consider the fact that a chess player has to manage an entire army of pieces with a variety of skills and abilities. The concept of both chess and the drug game are bigger than he realises.

The scene demonstrates how representation is a system that can communicate simple material aspects of the world like the rules of a game involving moving objects around a board. At the same time, it can also communicate complex, immaterial, social aspects of the world like the power relationships between people in a criminal enterprise. But, even though D’Angelo intends to explain those more complex power relationships, that doesn’t mean that Wallace and Bodie will understand. Representing social relationships always depends on our place within those relationships. D’Angelo’s explanation of how chess works is grounded in the everyday life experience of the inner-city drug trade, but even so the more junior members of the gang fail to fully appreciate the power relationships D’Angelo describes because of their position in the power relationships D’Angelo is representing. Much later in the narrative, Bodie appears to develop a fuller appreciation of D’Angelo’s representation when he says to a cop, ‘this game is rigged, we’re like them little bitches on the chess board’. The ability to make sense of representations is interrelated with our life experiences. The kind of life we lead, the people we interact with, the material environment we live in embeds us within certain systems of representation. Representation is a system for understanding things we can’t see or touch, but which we know shape our lives. Representation is critical to creating and regulating relationships between people. And, the material world in which we live shapes our systems of representation.

Bodie’s final line might also demonstrate the on-going nature of representation. Meanings are only ever partially and temporarily fixed. On one level the ‘rules’ of the game are represented as fixed and immutable to the ‘players’. The ‘king stays the king’ in both the game of chess and the drug trade. But, when Bodie says, ‘unless they some smart-ass pawns’, he suggests that players understand social arrangements and their meanings are never completely fixed. Regardless of whether we think D’Angelo ‘gets’ the bigger game that his junior colleagues don’t, or whether we think Bodie deftly ‘gets’ the contingent nature of meaning and power, what we do see here is how an explanation of the game of chess is used to re-present the inner-city drug trade and its power relationships. An explanation of the rules of chess serves to hold ‘in place relationships between people and the world’, and both the characters and the audience locate themselves in relation to those representations and perhaps recognise that they are never ‘finally fixed’ (Hall 1997: 23). Representation always involves the active participation of senders and receivers, communication must be understood as a process of exchange between people.

Representations are important for creating, enacting, maintaining and understanding relations of power. They help us to consider how power is something continually ‘done’ via communication. Practices of representation and power are diffused into our everyday lives and relations with people. Representation is a process embedded within the world, as much as it is a reflection of events and relationships in the world. Representation creates reality in the sense that by constructing our view of the world it shapes how we act in the world. These relationships are enacted by people at all positions in social hierarchies and formations. The three drug gang members as much as they ‘understand’ the system of representation D’Angelo explains to them, also enact it in their daily lives and practices. We can only understand the world and our place in it via discourse (Hall 1997: 45). For Foucault, this representational system was a ‘discursive formation’ that constructed and regulated ways of talking about topics. The relationship between media and the social world is a dynamic one, each interrelating with the other. Just as media re-presents the social world to us, in doing so, it shapes that world. Practices of representation are always-already embedded in the social world. They don’t sit outside of or above events and relationships. They are instead a part of them, and therefore condition them.

Map out how the game of chess represents the power relationships between characters in the urban drug trade.

Reflect on the extent to which the characters understand their role in those power relationships.

Consider how the game of chess makes the drug trade sensible to the audience. What meanings about the drug trade are conferred by the game of chess? Does the scene naturalise and legitimize the drug trade and the underclass?

The ‘King Stay the King’ scene from The Wire (Season 1, Episode 3).

https://www.youtube.com/watch?v=y0mxz2-AQ64

Peter Honig’s blogs about The Wire.

http://www.thewireblog.net/season-1/episode3_thebuys/chess-as-a-metaphor-for-everything/

Further Readings

The work of Stuart Hall and Nick Couldry are both instructive in developing an account of media representation. Stuart Hall’s Encoding/Decoding essay, originally published in 1973, provides a seminal account of the process by which meanings are inscribed into texts and deciphered by audiences. Hall’s book Representation published with several colleagues in 1997 (and in an updated edition in 2013) provides a clear and accessible explanation of the cultural and media processes of representation. In the past decade Nick Couldry’s work on mediatisation, media power and rituals has further advanced our understanding of media representations within a media-dense society. Couldry draws our attention to how practices of media representation are embedded in everyday cultural practices, social spaces and power relationships. In chapter 1 we also referred to Foucault’s notion of discourse. For more advanced readers his book Discipline and Punish is a good place to start. In that book he defines the relationship between power, knowledge and representation.

Hall, S. (1973). Encoding and decoding in television discourse (Vol. 7). Centre for Cultural Studies, University of Birmingham or Hall, S. (1991). Culture, media, language: working papers in cultural studies, 1972-79. Routledge: London.

Hall, S., Evans, J. & Nixon, S. (Ed.). (2013). Representation: Cultural representations and signifying practices . Sage: London.

Couldry, N. (2002). The place of media power: Pilgrims and witnesses of the media age. Routledge: London.

Couldry, N. (2003). Media rituals: A critical approach . Routledge: London

Couldry, N., & Hepp, A. (2013). Conceptualizing mediatization: Contexts, traditions, arguments. Communication Theory , 23 (3), 191-202.

Foucault, M. (1977). Discipline and Punish. Penguin: London.

A Guide to Representational Art And How You Can Create Your Own Masterpieces

What are the three basic types of art?

Representational art aims to depict real, identifiable objects which can be easily recognized by the viewer.

There are three basic types of art: representational art, abstract art, and non-objective art. All other art styles, such as impressionism, abstract-expressionism, surrealism, and minimalism can be categorized into one of these three types of art.

The word “representational,” when used in art, means that the work represents something that exists in reality; it may be a tree in a landscape, a bird in still life, or a figure in a painting.

What is representational art?

If we look back in art history, most of the art that was produced was representational. In fact, representational art has been around since man existed. You can look at cave paintings and immediately recognize animals, birds, flora and fauna, and in some cases you can even identify what kind they are. Before the renaissance, paintings were very flat and one-dimensional, but you could still recognize them as being representational. As painting skills progressed with the development of perspective, shade and light, and the improvements in the quality and availability of oil paints, so paintings became even more realistic.

During the 1800s, artists began to experiment with more impressionistic style art, leaving the viewer’s eye with more work to do to appreciate the subject matter. However, they were still very much representational art works.

What is abstract art ?

Abstract art was developed from representational art, where the colors, lines, and shapes themselves are the center of the art, and not the subject matter itself. It is not purely representational art, but rather an interpretation of reality.

Abstract art is a recent invention and didn’t appear until the start of the 20th-century. It can be traced back to Impressionism, Post-Impressionism and Cubism. Artists who painted in these styles were the first to realize that you did not need to make a photographic, or realistic, copy of a object or scene.

Abstract painting typically starts with an object that exists in the real world but presents those subjects in a different way. The broad term “abstraction” is defined as the distancing of an idea from its reference. In painting, it means capturing a object without a literal representation of it. One of the best examples of abstract art is Picasso’s “Three Musicians”. When you look at the painting, you can tell the objects are meant to be three individuals with musical instruments, but neither the musicians nor their instruments are depicted in a realistic way.

What is non-objective art ?

Non-objective art does not represent any kind of reality at all. Instead, it works with color, texture, and other visual elements. The subject of the painting is not identifiable, as it is far from reality. The best example of a non-objective artist is Jackson Pollock, whose work involved complex splatters of paint.

Has representational art disappeared? 

Representational art is the oldest, most well-known, and still the most popular among these three types of painting. Representational art ranges from pure realism, such as the photorealists in the late 1960s, to impressionism in the 1800s, to surrealism in the early 1900s, to fauvism in the turn of the 18th century, and all the way through to cubism, abstraction, and even cave paintings.

Apart from the time that non-objective painting came onto the art scene, all paintings were based on some kind of realism. In the 20th and early 21st century, there were many contemporary artists who delved more into abstraction, expressionism, and other forms of less realistic art. One of the most recognizable expressionist painting is The Scream, by Edvard Munch.

However in the 1980s there was a big move back to creating more representation art, and current artists are beginning to research the old-master skills that were lost when they stopped teaching them in universities around the world.

Thankfully there were still artists creating representational art who knew how to capture subject matter in the way of the old masters, and luckily we have their paintings, books, students, and other resources to teach us their skills. Also, while the western world were experimenting with new art forms and styles, the Russians and Chinese were still learning old master skills in their universities, and they continued to paint in a representational manner. Now we have their resources to bring those old master skills into current day art.

Some Russian and Chinese artists to look at are, Valentin Serov , Isaac Levitan, Konstantin Korovin, Nicolai Fechin, Bato Dugarzhapov , Sergei Bongart, Ovanes Berberian, Jove Wang, Quang Ho, Mian Situ and Huihan Liu.

In the 1900s, there were several groups of artists working in California who were following the representational art traditions. They painted in an impressionistic style, and mostly plein air (the would complete the painting outdoors). When contemporary art came into fashion, the California artists work was no longer popular, and so their paintings weren’t selling. In the 1980s, people realized they were losing a major part of art history, and seeing how inexpensive their paintings were, started snatching them up. Now some of them are worth millions of dollars. Most of these plein air painters came from the East, the Midwest and Europe, where they were influenced by the French Impressionists.

Some of the more prominent artists of the time were: William Wendt (1865–1946), Granville Redmond (1871–1935), Edgar Payne, Armin Hansen (1886–1957), Franz Bischoff (1864–1929), and William Ritschel (1864–1949).

Nowadays, representational art has exploded as an art form again, all over the world. In galleries and museums where you once only saw modern art, now you can see paintings that have evolved and created a new modern art genre.

Who can help me to create my own representational art?

Since 2003, the Virtual Art Academy has been helping artists worldwide to build and expand their painting skills. The VAA is built around a framework of nine skill  Building Blocks ™. The information in these Building Blocks was gathered during over 25 years of research by Barry John Raybould: reading out-of-print books written by master artists, attending workshops of artists who were taught the old master traditions, and trawling the internet for any little snippet that he could add to the extensive eLibrary and lessons.

Over the four-year course of our Apprentice Program you will learn all the key skills in every one of these nine Building Blocks.

The proof that this method works is the fact that Barry John has received many awards for his representational art, his paintings are in museums and many homes around the world, and he now has thousands of students who have gone through his online lessons and live workshops and are now achieving their own accolades.

It doesn’t matter which form of representational art you want to follow, the VAA will teach you all the principles so that you can develop your own style, in any medium you wish to use.

Add comment

Cancel reply.

Save my name, email, and website in this browser for the next time I comment.

A University Experience

Learn about my structured and comprehensive online painting classes.

Want More Free Tips?

GET MY FREE TIPS NOW

Subscribe YouTube

• Barry’s Paintings
• Artist Magazine
• Alumni Paintings

HELP & SUPPORT

• Members Login
• Privacy & Security
• Pochade Box Reviews
• Plein Air Easel Reviews
• Best Online Painting Classes: Virtual Art Academy Reviews
• Oil Paints for Beginners
• Plein Air Painting
• Pochade Boxes
• Plein Air Easels
• Painting Landscapes
• Atmospheric Perspective
• Critiquing Art

What is Representational Art? (Explained with Examples)

When you look at an artwork, the first thing that crosses your mind is how attractive or unattractive the art is. While some artwork simply expresses aesthetic beauty, other artworks aim to pass a message or represent real situations. The latter type of art is known as representational art.

Keep reading to learn more about representational art including its history, its importance in the art world, and some of the styles most well-known artists.

Table of Contents

Definition Of Representational Art

(This article may contain affiliate links and I may earn a commission if you make a purchase)

Some representational artworks fuse abstract art with reality, but this doesn’t make it less of representational art. In other words, some representational artworks could depict real objects in a realistic way, but that is not required.

But, provided that it still has the basic elements related to something real, it is still considered a form of representational art.

Note #1 : Sometimes, Representational Art is referred to as Figurative Art even though it doesn’t have to contain figures.

A Brief History Of Representational Art

There are also ancient arts that date back as far as the Stone age. They usually represent real people and scenes and sometimes narrate the setting of their environment.

Over time, painting techniques have continued to develop and have undergone many stylistic changes. Despite the phases it’s gone through, figurative art has maintained the concept of presenting real-life objects as the subject of the painting.

The Importance Of Representational Art

Representational art serves as a guideline for artistic merit.

One of the major roles that representational paintings and other artworks play is that it sets a standard for evaluating the artistic excellence of an art piece . Evaluation of an artist’s work often depends on the authenticity and similarity it shares with the image the artist tried to recreate. With this, it is easier to differentiate outstanding works from average ones, especially in a portrait or still-life drawing. 

Representational Art Serves As A Starting Point For Artworks

As a result, beginners favor representational art as it helps hone basic artistic skills and helps them graduate into more complicated art forms.

Representational Arts Is Easily Accessible

Artists who have created well-known representational works of art.

There have been many works of art that artists have created over the years that depict real-life things and people. Some of them are exceptional examples of representational art. Each artwork depicts a specific subject matter such as a person, a still-life, an animal, or a landscape. 

Let’s take a look at some of these famous Representational artworks and the artists who created them.

Paul Cezanne’s Masterpiece, Four Apples 

Cézanne used this technique to bring out the colors of the subjects he was painting, allowing him to produce works of art that were lifelike in their appearance.

This ability to depict the fruit exactly as he saw it allowed Cézanne to avoid any possibility of his work being misinterpreted by the public at large.

Joaqun Sorolla’s Valencian Fishermen 

Valencian Fishermen is a simple picture that Sorolla painted in 1895 during the period of the Impressionist movement. By giving his painting such a straightforward title, Joaquin Sorolla could convey exactly what his artwork was about.

Stanley Spencer’s Turkeys

Turkeys demonstrated the painters’ ability to accurately portray animal representations in an incredibly realistic and representational manner. In this picture, Sir Stanley Spencer painted turkeys in the backyard of someone’s home. These turkeys were the focal point of the painting. Thus, they were the first things an admirer saw. 

Algernon Newton’s The Surrey Canal, Camberwell 

Because of the incredible attention to detail and realism he used in his artwork, galleries regard this painting as a notable example of Representational art .

Although Newton painted The Surrey Canal, Camberwell with great precision, the artwork’s quality stems from a different fact. The painting gives spectators the sense that they are looking at a photograph of the canal rather than a painting of it.

A Few Final Thoughts About The Representational Style

Representational art continues to make history, and the style often gives artists a starting point for an artwork.

More From Artistry Found

Similar posts, why is modern art so bad (what you need to know), what is autobiographical art (explained), what kind of art is popular today (styles & mediums), the 4 most famous anthropomorphic artists (revealed), the beginner’s guide to conceptual art: what’s the big deal, what is folk art (explained).

Representational Art: Definition and Guide

Representational art is an artistic style in which the artist attempts to depict a representation of real-life subject matter, that is recognisable to the viewer. This is opposed to non-representational art , which does not depict subjects, objects or scenes from the real world.

Art described as representational can be realistic, or less realistic. As long as the artist is attempting to capture a true-to-life resemblance of their subject, it can be considered representational.

This art form dates back centuries, with some artworks dating back to ancient times. From early cave paintings to Renaissance depictions of Biblical scenes, representational art has been used to express ideas and communicate stories for thousands of years.

Genres of Representational Art

Representational art falls into several distinct genres. Landscape painting, for instance, has been popular since the Renaissance and is still widely practised today. Portraiture and figure drawing are other traditional genres and can range from realistic to stylised interpretations depending on the artist’s preference. Still-life paintings are also popular and can depict anything from a simple bowl of fruit to a complex arrangement of objects.

History of Art and Representation

The history of art is vast and varied. Ancient cultures used representational art to tell stories and document events, while more recent movements such as the Renaissance saw a greater emphasis on realism in painting and sculpture. In the 20th century, it saw a resurgence with the rise of movements such as Realism and Pop Art.

Art Movements: How Representational Art Has Evolved

Art has been a tool of expression for humans since antiquity, with each period of history bringing a new evolution in the approach and perception of representational art. The classical era of Greek sculpture is an ideal example of early representational art, where artists sought an idealised, perfect form rather than an exact reflection of reality. The human body was depicted in harmonious proportions, embodying the cultural values of balance, order and beauty.

Renaissance and the Pursuit of Realism

The High Renaissance brought a shift in perspective, with artists like Leonardo da Vinci and Michelangelo placing an emphasis on Realism. This was a time of great scientific and cultural advancement, and artists sought to depict the world around them with as much authenticity as possible, meticulously observing and capturing minute details of light, shadow, and anatomy.

Representing Subjective Experience During the Post-Impressionist Movement

By the late 19th to early 20th century, the Impressionist and Post-Impressionist movements emerged. Artists like Van Gogh and Gauguin began to move away from faithfully representing the physical world. Instead, they sought to express their inner experiences and emotions through bold colours and distorted forms. Here, art began its journey towards abstraction, and representational art took on a new dimension, serving not just as a mirror to the world but also as a window into the artist’s mind.

Representational vs. Non-Representational Art

The difference between representational and non-representational art lies in the way that it is produced. Art that is representational is based on representations of reality, while abstract or non-representational art does not depict anything from the real world. Abstract artists can use geometric shapes, colour schemes, or any combination of shapes and lines that do not form recognisable objects. While representational art can have an emotional or symbolic purpose, it is still rooted in the world of everyday experience. Non-representational art, on the other hand, abstains from any obvious reference to reality or pictorial representation.

How Artists Represent Subjects in Art

Artists create representational, or ‘true to life’ art by observing the forms of the subjects and objects they wish to recreate, by drawing shapes , determining accurate proportions or perspective and using colours that emulate that of the reference. This process is often done slowly, in stages. The artist will begin by sketching the basic outline of their subject, to establish the proportions, then add details such as texture and shade to create the impression of the subject’s form.

Representational art is a rewarding endeavour that requires patience and skill. It takes time to learn how to accurately capture the nuances of light and shadow, but with practice, it can be achieved.

Mediums Used for Representational Art

Representational art can be used in any medium, from painting and drawing to sculpture and even digital media. It can be used to create powerful pieces of artwork or simply as a means of documenting an event or moment in time. While realistic art is often thought of as traditional, it can also be used in a more modern context to create unique and interesting pieces of artwork. It is up to the artist how they choose to interpret and use this style of art.

Representational Art – The Development of Representational Artworks

Representational art, which is sometimes known as Figurative art, refers to paintings, sculptures, and other art forms that have clearly been copied from real objects. Portraying something that physically exists in reality, such as a landscape, a still life, or a portrait, Representational artworks are instantly recognizable once they are created. As it is one of the most identifiable genres of art, Representational art has proved popular with the masses.

Table of Contents

• 1 A History of Representational Art
• 2 What Is Representational Art?
• 3.1 Non-Representational Art Examples
• 4.1 Representational Abstract Art
• 5.1 Paul Cézanne: Four Apples (1881)
• 5.2 Joaquín Sorolla: Valencian Fishermen (1895)
• 5.3 Sir Stanley Spencer: Turkeys (1925)
• 5.4 Algernon Newton: The Surrey Canal, Camberwell (1935)
• 6.1 A Guideline of Artistic Merit
• 6.2 A Basis for All Visual Art
• 6.3 Makes Art More Accessible to the Public

A History of Representational Art

Existing as art that represents something, Representational art is typically made up of subject matters that are easily recognized by viewers. Some of the earliest examples of Representational art were cave paintings, which date back about 40,000 years ago, and the Paleolithic figurine known as The Venus of Willendorf said to be created about 25,000 years ago.

Thus, this form of art is said to be one of the oldest in existence, as a variety of examples can be traced from different genres that existed at separate times.

Most ancient art, which dates back to the Stone Age between 2,000,000 and 10,000 B.C.E., was said to be representational. The sculptures and paintings produced in this era were often modeled off of real people, idealized gods, or scenes from nature until the direction of representation turned to focus mainly on religious subjects during the Middle Ages in Europe.

Some of the most beautiful Representational art examples were created during the Renaissance by important artists such as Michelangelo and Leonardo da Vinci, who produced exceptionally realistic paintings and sculptures. At this time of art history, artists were typically commissioned to paint portraits of royalty, meaning that the majority of the artworks in existence displayed depictions of real people.

Throughout history, the majority of the paintings, drawings, and sculptures that have been made are said to be forms of Representational art, as this genre represents one of the largest collections of artworks to ever be created.

Despite going through many phases throughout art history, Representational art has retained the principle of presenting the viewer with distinct and obvious subject matter . This essentially demonstrates that it is one of the most reliable art forms to exist.

What Is Representational Art?

An appropriate Representational art definition would be artworks, in particular paintings and sculptures, that have been created by accurately copying real object sources. In doing so, the artworks that are produced represent something with strong visual references to reality, as they represent something very specific. Even when artworks were symbolic or non-figurative in nature, they were still usually representing something, which made them a form of Representational art.

Representational artworks are normally made up of landscapes, seascapes, portraits, figures, and still lifes, as these works are all comprised of images that represent an identifiable and genuine object. In addition to these categories, other forms of Representational art include depicting everyday scenes, historical and mythological paintings. In terms of Representational statues, the most common type of statue to emerge from the early art periods were equestrian statues.

While Representational art depicts objects as realistically as possible, not all Representational drawing examples are true to life.

For example, a tree can be represented through standard characteristics that we know are used to identify an object as a tree but can be placed within abstract contexts that a tree would never usually be found in. Despite the environment of paintings not always being lifelike, as long as the objects are represented recognizably, the art is automatically considered to form part of Representational art.

Traditional Representational art made use of atmospheric perspective and color in order to create the illusion of three-dimensional reality on paper or canvas. The knowledge and ability to create such realistic depictions slowly grew through the centuries as different artists arrived on the scene and helped further the Representational art definition, with this art genre never fading from popularity.

What makes Representational art so interesting is that an iconic artwork, such as da Vinci’s Mona Lisa (1503), and a simple crayon drawing of it done by an amateur would be seen as equally representational. The preference for one of these versions of the painting over the other depends on one’s aesthetic taste and not on how well the figure has been depicted.

Thus, Representational art was not a genre specifically reserved for professional artists only, as any painting or drawing that depicts a real object is considered to be a part of the style.

What Is Non-Representational Art?

By contrast, non-Representational art is incredibly different from Representational art. While most art is based on imagery and elements taken from the real world, the more extreme forms of art demonstrate an increasingly strained relationship to the visible world and are thus labeled as non-Representational art. In addition, this type of art is frequently used as a synonym to describe abstract art.

The line that separates Representational art from non-Representational art is extremely thin, as some overlapping between these two art forms still occurs. As art tends to be subjective, audiences and critics may disagree on how to classify certain artworks because of their own personal opinions.

Therefore, an appropriate non-Representational art definition describes artworks that display complete abstraction and place more emphasis on the lines, colors, and shapes seen as opposed to any objects.

With non-Representational art pieces leaning more towards abstraction, the type of artwork made makes no reference to anything remotely recognizable from the real world. The aim of these artists is to create something that is thought of as more intellectual by definition, as not making reference to any distinguishable objects requires viewers to seriously consider the work in order to form an interpretation.

Essentially, the best way to fully understand the non-Representational art definition is to consider and appreciate the differences that exist between this form of art and traditional Representational art. If you are able to see and understand themes from the viewpoint of the artist, accepting the artwork for what it then becomes a lot easier.

Non-Representational Art Examples

As non-Representational art makes use of abstraction within the artworks produced, a variety of different illustrations exist. However, the most common non-Representational art examples include artworks that do not depict any objects from the real world, such as figures and landscapes. Instead, mere shapes, colors, and lines are used to depict the ideas of the artists, as these elements are said to express elements that are not always visible, such as emotions and feelings.

20 th Century Representational Art

Towards the end of the 19th century, Representational painting in Europe was dominated by the movement of Impressionism , which began around 1860. While realistic depictions of people, places, and objects were still being made, they were being painted according to the stylistic techniques of Impressionism, which was incredibly free-flowing and loose.

This led to an increase in Representational drawing, as Impressionists expressed an interest in other mediums of art in addition to painting.

This era led to the emergence of some incredibly notable artists, who created some very well-known Representational artworks. Some of these Representational artists included Edgar Degas, John Singer Sargent, Wassily Kandinsky , and even Vincent van Gogh. While all of these artists had a distinctly different style, they all produced artworks that were based on easily recognizable forms and objects, which labeled them Representational artists in addition to the art movement that they were practicing in.

At the turn of the 20 th century, the different art movements that were developing began to reject the largely representational approach. A movement that abandoned the academic traditions of Representational art and embraced a more subjective approach was German Expressionism, as the political events of the early 20 th century led to a massive increase in abstract art . As a result of this, non-Representational art was not said to evolve until the beginning of the 20 th century, where form was finally given more dominance over substance.

Representational Abstract Art

In addition to the rise of the German Expressionist movement, the appeal of abstraction grew. True-to-life paintings were facing immense pressure from other artists who were unhappy with these antiquated images as they left very little room for intellectual possibilities. As a result of this, artists turned to Representational Abstract Art as a way to reinterpret and modernize subject matter.

A notable artist whose journey from Representational art into Representational Abstract Art can clearly be seen in his artworks is Pablo Picasso.

Within his Blue and Rose periods, Picasso displayed great concentration on realistic and naturalistic painting, with this interest slowly developing towards abstraction as he entered his revolutionary Cubism period. The artworks created from Picasso’s Cubism period make up some of the most famous examples of non-Representational painting ever seen.

Well-Known Representational Artworks and Their Artists

As many artworks that have been produced throughout the decades portray real-life objects and figures, many of them can be seen as wonderful examples of Representational art. As too many exist to possibly be included on one list, we will be looking at four outstanding Representational artworks that each depict a specific subject matter such as human figures, a still life, animals, and a landscape scene.

Paul Cézanne: Four Apples (1881)

This oil on canvas painted by Paul Cézanne exists as an important still-life artwork, as it demonstrates his rejection of thick brushstrokes and intense contrasts of light and shadow. Cézanne did this in order to fully focus on the colors of the objects that he was painting, which helped him create incredibly naturalistic artworks .

Within Four Apples , no one can mistake the four circles in the middle of the canvas to be anything other than what Cézanne said they were, which was apples. While this is certainly one of his simpler paintings, the intricacy of Four Apples lies in the depiction of its subject matter. Cézanne was able to effortlessly depict the fruit exactly as he saw it, leaving no room for viewers to confuse his work for anything else.

Joaquín Sorolla: Valencian   Fishermen (1895)

Painted during the Impressionist movement , Valencian Fishermen exists as a simple work. In giving the artwork such a straightforward title, Joaquín Sorolla portrayed exactly what his artwork is labeled as, as two men standing at the water’s edge and working with fishing equipment can be seen. Thought to be an incredibly relaxed artwork, Sorolla merely depicted fishermen, assumed to be from Valencia, going about their work in the middle of the day.

Sir Stanley Spencer: Turkeys (1925)

Created using a Neo-Romanticism style, Turkeys demonstrated the ability of artists to accurately capture depictions of animals in an incredibly realistic and thus representational style. Within this artwork, Sir Stanley Spencer clearly portrayed turkeys in the back of someone’s garden, with these animals becoming the only focal point in the painting. Based on the single word he titled the artwork, the subject matter of Spencer’s work could not be mistaken by viewers, especially after seeing the simplicity of the artwork.

Algernon Newton: The Surrey Canal, Camberwell (1935)

The final example that we have included is Algernon Newton’s The Surrey Canal, Camberwell , in which a representation of the Surrey Canal is seen. Although not explicitly a landscape artwork, as Newton included buildings that overlooked the canal, the great detail and realism with which they have been painted allow this work to be seen as a great example of Representational art. The clarity with which Newton painted The Surrey Canal, Camberwell adds to the quality of this artwork, as viewers feel as if they are looking at a photograph of the canal as opposed to a painting of it.

As Newton depicted something specific that existed in reality, he created an accurate visual reference of the canal, which allowed viewers to understand and appreciate the work immediately.

The Importance of Representational Art

Representational art made up an important period of art history, as its notable style has been represented by some of the earliest sculptures and artworks that have been documented and found. As Representational art is so widely accepted by audiences and critics alike, it still exists as a popular art form today, despite countless developments in different genres taking place.

A Guideline of Artistic Merit

Representational art is considered an essential genre of art, as it provided a standard by which the artistic quality of artworks could be judged. Portraits, still life’s, and landscape paintings were judged based on their accuracy and similarity to the person and scene that was being depicted, which allowed exceptional work to be differentiated from mediocre work. However, non-Representational art differed greatly, as by not representing anything real, these abstract artworks were not able to be assessed according to objective criteria.

Due to this, the reputation of non-Representational artists varied greatly from that of Representational artists, especially at the start of the 20th century when abstraction flourished.

A Basis for All Visual Art

Representational art acted as an important starting point for all visual art, as it evaluated artists based on their drawing skills, compositional skills, perspective, use of color, and portrayal of light. While these are not the only features used to judge artists and their artworks today, these characteristics of Representational art provided a crucial foundation for the growth of visual art.

Additionally, having a solid base provided by Representational art helped introduce some of the most iconic artists in all of art history. Through creating a benchmark with which to assess artworks, this went on to educate artists from all movements to improve upon certain skills, which led to the creation of some incredibly notable works that are still spoken about today.

Makes Art More Accessible to the Public

As Representational artworks are generally very easy to recognize, the continuation of this genre helped make art more accessible to the general public as time went on. Certain artworks only received true appreciation and fame years after they were produced, which demonstrated the applicability of Representational art as these artworks were still able to be understood after a significant amount of time had passed.

With the rapid rate that technology has progressed, individuals are demonstrating a greater level of comfort with Representational art. This is because these artworks can easily be recreated using various digital tools and computer programs, which demonstrates the relevance that some Representational art pieces still have if they can be captured and altered in a completely new medium.

Despite decades passing since the first examples of Representational art emerged, this art genre has managed to remain incredibly relevant still. As all art, no matter the movement, can be seen as representational if depicting something that truly exists in reality, it becomes increasingly easy to answer the question: what is Representational art? In a nutshell, this art form simply captures elements of reality and represents them in a naturalistic way, so that viewers are able to easily recognize the subject matter artists are attempting to portray.

Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.

Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Learn more about Isabella Meyer and the Art in Context Team .

Cite this Article

Isabella, Meyer, “Representational Art – The Development of Representational Artworks.” Art in Context. July 5, 2021. URL: https://artincontext.org/representational-art/

Meyer, I. (2021, 5 July). Representational Art – The Development of Representational Artworks. Art in Context. https://artincontext.org/representational-art/

Meyer, Isabella. “Representational Art – The Development of Representational Artworks.” Art in Context , July 5, 2021. https://artincontext.org/representational-art/ .

Similar Posts

Types of Visual Art – Various Forms of Creative Expression

Foreshortening – A Guide on Foreshortened Drawings and Paintings

Dutch Baroque – The Golden Age of Dutch Art

Gutai Art Association – Avant-Garde Japanese Creatives

Italian Renaissance Art – What Was the Italian Renaissance?

Lithography – Understanding the Art of Lithography Printmaking

Leave a reply cancel reply.

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

The Most Famous Artists and Artworks

Discover the most famous artists, paintings, sculptors…in all of history! 

MOST FAMOUS ARTISTS AND ARTWORKS

Discover the most famous artists, paintings, sculptors!

• real estate

Here’s What’s About to Change for People Buying and Selling Homes

I t was huge news at the time: the National Association of Realtors (NAR) agreed in March to pay $418 million and make changes to how the home-buying process works in order to settle a class-action lawsuit that alleged the industry conspired to make agent commissions higher than they needed to be.

The provisions of the settlement go into effect on Aug. 17. For now, what consumers can expect is more paperwork, and potentially more confusion. 

“This is a grand social experiment,” says Leo Pareja, the CEO of exp Realty, one of the biggest real-estate brokerages in the country. “None of us know what’s about to happen.” 

Buyers now have to sign a contract

Here’s how the process used to work: a seller’s agent would list a home on an MLS, or multiple listing service, which is a database of properties for sale. Those listings would state that the seller of a home would pay a certain amount to compensate the buyer’s agent. This compensation was often about 3% of the sales price, which was also about what the seller’s agent would get from the seller. (The average amount ranges between jurisdictions and even from sale to sale; some agents were also paid flat fees.) 

Technically, those fees were negotiable. But most homeowners either didn’t know that or feel they could negotiate. In addition, home sellers allege, real-estate agents would sometimes “steer” buyers to specific homes based on the amount of compensation they could receive. As of Aug. 17, real-estate agents cannot list any sort of agent compensation when they put a house on multiple listing services, a change designed to eliminate steering.

Read More: Stop Looking For Your Forever Home .

In addition, both buyers and sellers are now required to sign a written agreement with their agent before the agent shows them a property or assists with a transaction. The buyer’s side of this is more consequential—most sellers have signed these contracts in the past, but few buyers did. In the new buyers’ contract, sometimes called an “exclusive representation agreement,” the buyer agrees to work with the agent for a certain period of time. Most importantly, the buyer and agent also agree on how the agent will be compensated, whether through a flat fee, a specific share of the purchase price, or another method. Agents must also make clear in this contract that broker commissions are fully negotiable, a change that consumer advocates hope will drive commissions—and prices—down.

Many real-estate agents say the changes are positive, including Jennifer Stevenson, a real-estate agent in upstate New York and a regional vice president for the National Association of Realtors. “This makes the process better,” she says. “Clients are going to understand exactly what is expected of me and what I am offering them as a service.”

But others aren’t so sure that the changes will be positive for consumers. Realtor associations across the country have been releasing drafts of contracts that are extremely lengthy and written in legal terms that are difficult to understand, says Tanya Monestier, a law professor at the University of Buffalo. The draft buyer agreement from the North Carolina Association of Realtors, for instance, is seven pages long.

Read More: When Should I Buy A House?

Monestier analyzed the draft agreement by the California Association of Realtors (CAR) for the Consumer Federation of America, and issued a report criticizing the agreement for being opaque—so opaque, in fact, that Monestier says she had trouble getting through the document. “No seller will read this monster of a document—much less be able to understand it,” she concluded. 

Not all new buyer forms are so dense. Monestier says she reviewed a few forms that were clear; those from Exp Realty, for instance, are just two pages long and explicitly spell out buyer and seller responsibilities. Exp has made these forms available to any company that wants to use them, says Pareja, the CEO. 

Compensation may be changing

Before the NAR settlement, it was standard for the seller to pay for both the seller and the buyer’s agents. That may not be the case going forward.

In tight housing markets, sellers could refuse to pay for the buyer’s agent because they have so much interest in their home. Instead, agent’s fees may become a bigger part of the negotiation when people are buying homes. If a buyer really wants a house, for instance, they could offer to pay the seller’s agent fees, and include that provision in their offer letter. Conversely, if a seller in a slow market is desperate to unload their home, they could offer to pay the buyer’s agent fees—though the agent could not disclose that on the listing. 

Monestier says she also expects there will be more buyers who choose not to have an agent at all, because they don’t want to be on the hook for the agent’s fee. That could lead to less potential work for many of the real-estate agents out there.

Most of all, the settlement could lower compensation for both buyer’s and seller’s agents. Academic papers have predicted that fees could decline by 30-50% as a result, which would end up lowering home prices as well.

Of course, it’s possible that old habits are hard to break, and that not much will change at all. Sellers are accustomed to paying for buyers’ broker fees, and they may continue to do so. Even if everyone involved knows they can negotiate. 

More Must-Reads from TIME

• The Reintroduction of Kamala Harris
• IVF Changed America . But Its Future Is Under Threat
• The 7 States That Will Decide the Election
• Inside Sam Bankman-Fried's Siege of D.C.
• Do You Really Store Stress in Your Body?
• The Rise of a New Kind of Parenting Guru
• The 50 Best Romance Novels to Read Right Now
• Can Food Really Change Your Hormones?

Contact us at [email protected]

( Getty Images )

What Is a Buyer’s Agent? A Trusted Guide Who’ll Help You Find a Home

Ready to house hunt? It’s a jungle out there: Prepare for a flurry of paperwork, stampedes of buyers competing for the same digs, and other challenges before you get your hands on those house keys.

We won’t lie: The process can be complex and stressful—especially if you are a first-time buyer. Having a real estate pro by your side can make all the difference.

You might have heard of buyer’s agents, selling agents, listing agents, and so on. You’re a buyer, so what is a buyer’s agent?

True to their name, buyer’s agents are ethically obligated to work in a buyer’s best interest. They help real estate buyers navigate the real estate market and can also save you tons of time on the road to your new home. Recently, the National Association of REALTORS® reached a settlement that goes into effect on Aug. 17. The settlement includes several changes between the agent and buyer relationship that benefit homebuyers.

Read on to learn how a real estate buyer’s agent can help you in your home search, and how to find the right one for you.

Benefits of using a buyer’s agent when buying real estate

“A buyer’s agent will guide you through the homebuying transaction and be at your disposal for any questions or concerns,” says Shane Wilcox , a real estate professional with Partners Trust. Here are some of the things a buyer’s agent can do:

• Find the right property. After determining what the clients are looking for and what they can afford, the agent will schedule appointments to tour homes that fit the bill. The agent can also explain the pros and cons of various properties and neighborhoods to help buyers decide which home is right for them.
• Negotiate the offer. The buyer’s agent will advise clients on an appropriate price to offer and present it to the seller’s agent. “Then they will negotiate on your behalf and write up the contracts for you,” says Matt Laricy , a real estate professional with Americorp Real Estate in Chicago. The agent’s experience in negotiating deals can save you money and help you avoid pitfalls like a fixer-upper that’s more trouble than it’s worth.
• Recommend other professionals. A buyer’s agent should also be able to refer you to reliable mortgage brokers, real estate attorneys, home inspectors, movers, and other real estate professionals. This can also help expedite each step of the process and move you to a successful real estate sale all the faster.
• Help overcome setbacks. If the home inspector’s report or appraisal uncovers new issues, a buyer’s agent can advise you on how to proceed with the transaction and act as a buffer between you and the sellers or their broker. If negotiations become heated or hostile, it’s extremely helpful to have an experienced professional keep calm and offer productive solutions.

Buyer’s agent vs. listing agent: What’s the difference?

Buyer’s agents are legally bound to help buyers, whereas listing agents—the real estate agent representing the home listing—have a fiduciary duty to the home seller.

“That’s why it’s in your best interest as a buyer to get an agent who is there to represent you,” explains Alex Cortez , a real estate professional with Wailea Village Properties in Kihei, HI. “Think about it this way: If you were getting sued, would you hire the same attorney as the person suing you? Of course not. You need someone who will diligently fight for your interests and rights.”

Let’s say, for instance, you walked up to the listing agent at an open house. You might gush about how you love the home and want to buy it. You may then unwittingly add that you will need to move soon—because you’re expecting your second child and need to decorate the nursery pronto or because the lease on your rental is up in a couple of months.

A seller’s agent could then use this information against you by informing the sellers that your clock is ticking, so they shouldn’t budge too much on their asking price—if at all.

Yet make this same confession to the buyer’s agent you’re working with. This professional would know to keep this information private from sellers (and their agents) so it can’t be used in negotiations.

Some states, recognizing this problem, required a disclosure of dual agency when a broker represents both sides of a real estate transaction. In some states, dual agency is illegal.

However, you may still not be comfortable after signing an agreement saying you know someone is a dual agent. You might want to hire an agent who is not representing the owner, and who is looking out for your best interests.

How to find a buyer’s agent

A good buyer’s agent can ease the path to homeownership, while a bad one can result in a bumpy ride.

You should not just take the first buyer’s agent you meet (as two-thirds of homebuyers do), or blindly accept the recommendation of a friend (more than half do this). Instead, it’s best to interview at least three agents and ask them a few questions, including the following:

• What neighborhoods do you specialize in? Real estate requires local expertise, so you should find an agent who’s extremely familiar with the areas you’re interested in.
• What’s your schedule and availability? Committed part-time real estate agents can do a fine job, but if the house of your dreams pops up or you encounter last-minute closing snafus, you want an agent who is readily reachable.
• How long have you been a real estate agent? You ideally want someone with a couple of years of experience and a proven track record of selling homes.

To find real estate agents in your area, head to realtor.com/realestateagents , where you can also read online reviews provided by past clients and learn more.

The agent/buyer contract

Once you agree to work with someone, you will have to sign a contract before touring a home in person or virtually, outlining the agent’s services and compensation (more on that next). However, you do not need a written agreement if you are simply interviewing an agent or talking at an open house.

This contract also means that this person will be your sole representative and that you won’t work with other buyer’s agents. In general, the contract should outline the negotiated terms, detailing the services provided and their cost.

According to the settlement for the NAR, the contract should also include these four things before you sign it. 

• A specific and conspicuous disclosure of the amount or rate of compensation the real estate agent will receive or how this amount will be determined.
• Compensation that is objective (e.g., $0, X flat fee, X percent, X hourly rate)—and not open-ended (e.g., cannot be “buyer broker compensation shall be whatever the amount the seller is offering to the buyer”).
• A term that prohibits the agent from receiving compensation for brokerage services from any source that exceeds the amount or rate agreed to in the agreement with the buyer.
• A conspicuous statement that broker fees and commissions are fully negotiable and not set by law.

Who covers the buyer’s agent commission?

In the past, sellers generally covered both buyer and seller’s agent fees. As of Aug. 17, buyers will be responsible for paying their agents a fee. Remember, your agent’s compensation is fully negotiable. 

While the seller may agree to compensate your agent, this offer cannot be shared on a multiple listing service (MLS)—local marketplaces used by both buyer brokers and listing brokers to share property information. 

As a buyer, you can still accept concessions from the seller, such as offers to cover your closing costs. When choosing a real estate agent, ask about their services and compensation to ensure you fully understand the process.

Liz Alterman writes about a variety of subjects, ranging from personal finance issues for CNBC.com to career advice for The Muse. She's also written a memoir and several suspense novels. For more details, visit LizAlterman.com.

Twitter Follow @LizAlterman

• Related Articles

Share this Article

Connect with an agent, a realtor.com coordinator will connect you with a local agent in minutes.

A local real estate agent can answer questions, give guidance, and schedule home tours.

By proceeding, you consent to receive calls and texts at the number you provided, including marketing by autodialer and prerecorded and artificial voice, and email, from Realtor.com and others Persons who may contact you include real estate professionals such as agents and brokers, mortgage professionals such as lenders and mortgage brokers, realtor.com and its affiliates, insurers or their agents, and those who may be assisting any of the foregoing. about your inquiry and other home-related matters, but not as a condition of any purchase. More You also agree to our Terms of Use, and to our Privacy Policy regarding the information relating to you. Msg/data rates may apply. This consent applies even if you are on a corporate, state or national Do Not Call list.

A Realtor.com coordinator will call you shortly

What’s next.

• A coordinator will ask a few questions about your home buying or selling needs.
• You’ll be introduced to an agent from our real estate professional network.

To connect right away, call (855) 650-5492

• Coachella Valley Questions Answered
• Fentanyl Crisis
• Neighborhood Heroes
• Salton Sea Project
• Colorado River Crisis
• I-Team Investigations
• Local Forecast
• First Alert Weather Alert Day
• Live Weather Cams throughout Coachella Valley
• First Alert Weather Insider
• Beat The Heat
• Earthquake Alert
• Photo Galleries
• Coachella Valley Firebirds
• Scholar Athlete of the Week
• Galleri Classic
• High School Football
• Las Posadas
• Fiestas Patrias
• La Poderosa
• Salton Sea: La Agonía de un Paraíso
• St. Jude Dream Home
• Gas Al Mejor Precio
• Quienes Somos
• 2024 Voter Guide
• Local Politics
• National Politics
• Livestream Special Coverage
• Livestream Newscasts
• Desert Chat
• Do The Right Thing
• Entertainment
• Eye on the Desert
• Healthy Living
• Healthy Pets
• Impact Grants
• One Class at a Time
• 2024 Coachella Valley Golf Card
• Desert Experts
• Submit Tips, Pics and Video
• Work at KESQ
• Explore Local Jobs
• Intern at KESQ
• Advertise with Us
• KESQ Jobs and Internships
• Public Appearance Request
• TV Listings
• CW 5 Palm Springs
• FOX 11 Palm Springs
• Closed Captioning Information
• Download the News Channel 3 News apps
• FCC Public File
• 2024 EEO Report
• 2023 EEO Report
• 2022 EEO Report
• 2021 EEO Report
• 2020 EEO Report
• 2019 EEO Report
• Public File Help
• Newsletters/Alerts

New Real Estate Commission Rules: What buyers and sellers need to know before August 17

A new real estate commission structure is set to go into effect starting mid-August. 

These commission changes have come about as part of a lawsuit between the National Association of Realtors and home sellers. 

We spoke to local broker who shared his industry insight on what this means for agents, home sellers, buyers, and their pocket books.

The new guidelines are being implemented by the National Association of Realtors starting August 17. 

"The biggest change that's going to happen is every buyer now will have to enter into a buyer representation agreement before they even look at a house," said Broker Realtor, Stephen Powell.

These changes are attempting to create more transparency regarding agent fees.

As outlined in the National Association of Realtors Settlement Overview page , the association is now prohibiting offers of compensation through an NAR multiple listing service. 

"For instances of dual agency, it's going to make it even more clear when a real estate agent is entering a dual representation agreement with the seller. That's more clearly defined than it ever has been in the in the listing process," added Powell.

The NAR also sharing in it’s Settlement Overview page that the association has agreed to require MLS participants working with buyers to enter into written agreements with their buyers before touring a home. 

"One of the notable changes that's going to take effect are the open houses. So when a buyer goes to an open house now they're going to have to actually sign a non-agency agreement form before they can even go in the house and talk to the agent," added Powell. "Because if they don't, they can think that the agent is representing them because they're answering questions."

Powell says hopeful homeowners will have to enter in a buyer agreement or sign an open house non-agency agreement in order to see a home. 

The new guidelines may also add additional costs for buyers.

"They will ask you to enter in a buyer representation agreement, and they're going to ask you to commit to a certain percentage of commission, of which the buyer is obligated to pay initially, if the seller doesn't agree to picking up that expense," said Powell.

The settlement is subject to final court approval. The final approval hearing is scheduled to take place on November 26, 2024.

You can read the entire National Association of Realtors Settlement Overview HERE.

Jump to comments ↓

Bianca Ventura

Bianca Ventura joined KESQ News Channel 3 as a reporter in February 2022. here .

News Channel 3 is committed to providing a forum for civil and constructive conversation.

Please keep your comments respectful and relevant. You can review our Community Guidelines by clicking here

If you would like to share a story idea, please submit it here .