For her second conceptual series of large-format photographic tableaus, Goldstein subverts the storybook storyline of Barbie and her blow-dried boyfriend Ken.
Using the sequential narrative form common to comic books, Goldstein places the long-time couple in a custom-manufactured alternative reality of her own design and decoration.
But is it possible to satirize religion and push boundaries possible to defend the right to obscene and racist speech without promoting or sponsoring the content of that speech.
It is possible to approve of sacrilege without endorsing racism.
Satire must be clever, and like many cultural forms, must encourage the awareness and potential intellect of all members of society, religious or not.
At its best, satire not only critiques social values and norms, but provokes change if necessary, positioning individuals to be active participants in social transformation, rather than passive consumers who allow others to worry about their civil liberties and freedom.Equally as buxom, Barbie expressed her personality through her body image, wardrobe and lifestyle.Acquisitive and carefree, Barbie is the glamour girl of a mythic America where being perfect, popular and plastic is the highest ideal.“The irony is that we continue our immersion in the three poisons when we shop at such overpriced designer supermarkets.[…] They indulge our narcissism and desire—separating the haves even further from the have-nots, who can’t shop at such places and are left with GMO and lower-scale food.” This consumerism reveals on the one hand, religion’s vulnerability to commodification, and, on the other, its ability to navigate our consumer cosmos, adapting to rapid changing consumer wants and constructed needs.And it is possible to consider Islamophobia immoral without wishing it illegal.”(1) In her latest photographic collection, , Vancouver-based, internationally award-winning photographer and cultural critic Dina Goldstein captures the essence of satire through discussion and criticism about religion, its place and perseverance in our technology-manic society.She knocks off Western and Eastern Gods, deities and icons from their altars and re-imagines them as ordinary people struggling with unemployment, homelessness, identity crisis and alienation.She certainly looked different from the typical baby-faced dolls of her day.Tall, thin, golden-haired and glossily made up, Barbie was modeled after Lilli, a curvy sexualised doll sold in German bars to adult men based on a racy comic strip character.A pink on pink playhouse that seems sweetly perfumed for romance. But the candy-coloured interiors and playful appeal of the iconic dolls are Goldstein’s Pop Surrealist lure to engage an audience about serious issues.is social documentary photography masquerading as a puppet show.