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Social Context of art
art in its social context
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The questionable influence and dominance of western culture is at the forefront of a new form of seemingly ephemeral diplomatic history that is termed ‘new internationalism’. Internationalism itself is not really a new concept, and is basically a system based on equality for all people and cultures on a global scale. In the global art world ‘new internationalism’ is an active topic and was the focus of a 1994 INIVA Symposium entitled, A New International Symposium. The topics discussed included: Recording the International; Art, History and the Modern Museum; Beyond Diversity and Difference; Curatorship and International Exhibitions.1 During his lecture at the symposium, sculptor, essayist and poet Jimmie Durham puts forth the idea that, “…Europeans seem to think that, as art is their invention, effective art is within a developed vocabulary and accent…”2 This kind of statement emphasizes the enormous task of disuniting ‘actual’ art history from that recorded under the influence of western culture, and it demonstrates the long-standing influence of imperial thinking. In the article New Internationalism, Rasheed Araeen talks about how the West, after its separation from colonialism, continued its “hegemonic position” and global control (Araeen 3). Araeen’s main argument is that if we (all global nations) aren’t willing to acknowledge an obvious historical timeline that has been based on Eurocentricity (a focus on European history and culture), then the concept of ‘new internationalism’ will never be visualized. In other words, there must be a willingness on the part of nation states to fill in the omissions of history, especially in regard to art and culture (6). The INIVA Symposium is possibly one slice of evidence that seems t... ... middle of paper ... ...control. I believe there are really two distinct issues that have to be considered, one is that of a Eurocentric evaluation of fine art that is still widely present in major museums. The second is that the only way to overcome this stigma is through an honest recognition of the historical falsehoods created by the functions of colonization. Only through the resolution of both of these issues, in a post-colonial framework, will a true multicultural platform emerge. Works Cited 1) "A New Internationalism Symposium." INIVA. Tate Museum, London. 1994. Symposium. 2) Durham, Jimmie. "A New Internationalism Symposium." INIVA. Tate Museum, London. 25 Apr. 1994. Lecture. 3) Http://en.wikipedia.org/wiki/Ethnocentric 4) Bennett, Gordon. "The Non-Sovereign Self (Diaspora Identities)." Global Visions; Towards a New Internationalism in the Visual Arts (1994): 120-30. Web.
The Los Angeles County Museum of Art, or LACMA as it is commonly known, is among the world’s largest art collections in North America, and to be specific enough the most prevalent artwork in the western United States (Compton 165). This massive art museum has a collection of over 100,000 artworks, which extends from the ancient times to present days (Gilbert and Mills 174). These collections, which are mainly from Asia, Africa, Europe, Latin-America and America itself, are grouped into several departments within the museums buildings, depending on the region, culture, media, and time period. This paper analyzes the different genres of art and explains the main features that make the Islamic artworks distinguish themselves as historic masterpieces, by using stylistic and interpretive analysis methods.
Museum, F. (2010b). Intersections: World Arts Local Lives. In UCLA (Ed.), (pp. 1-12). Los Angeles: Regents of the University of California.
and Conflicting Feminine Ideals at European and American World Exhibition, 1873-1915." Identities, Places, Projections: World's Fairs and Architecture, July 2000: 1-35.
It is split up into sections, each containing definitions, historical context, factual examples, and in many cases addressed flaws. In the begging of the article, the author provides the readers with his intensions, and ends with a recapitulation, providing the readers with a list of art definitions as the last page. (5b) The article is structured around the concept of having an accurate definition of art and artworlds—analyzes how the earliest art was created by individuals who certainly did not possess the concept, to how modern artists’ decide to alternate the it. (6)The word “Defining” best crystalizes the article. A well-developed concept of art needs to have a stable definition. (7a) Davies supports his article with plenty of experts, but prominently himself, a professor of philosophy and humanities at the University of Auckland, since he contributes not only extensive definitions of art but addressed problems within them. Another prominent expert cited in the article is Robert Stecker, affiliated with the University of Wisconsin and Pennsylvania State University, who examines the meanings and values of contemporary art, and also explains how an artwork at time t if and only it is in one of the central art forms at t and is intended to fulfill a function art had at t then it is an excellent piece of art. Expert Monroe Beardsley, from Cornell University, provides classical statements of aesthetics, with concrete details of how artwork is an arrangement of conditions intended to be able to afford an aesthetic experience. (7b) There are some instances where logic was implied; art demonstrates emotions, skills, and quality. Another instance of logic is that the artworld does not necessarily contain core sets of art forms: fictional narratives, dramas, poetry, picturing, sculpting, music, song,
‘I want to show artists from the whole world, and to leave the ghetto of contemporary Western art where we have been shut up over these last decades’ (Buchloh & Martin, 1989, p. 27). Jean-Hubert Martin’s exhibition Les Magiciens de la Terre more than challenged, it stampeded into the contemporary Western art world demanding that it expand its vision beyond the generally agreed and understood definition of art. Martin wanted the art world to encompass the global through his sole curatorial vision. In a response to the centralised view of the art world of the time, Martin curated an exhibition to redefine this view and include his discovery of the art of the peripheries which he brought back to this local centre. Arising from this, the dominant
The display of Benin art in museum and galleries reflect the attitudes and perceptions of Europeans towards non-western artefacts, especially African. Thus as European attitudes change towards non-western art since the discovery of Benin art in 1897, Benin art has been revaluated and re-categorised.
‘Savage Beauty’ was an exhibition that pushed the boundaries of museology, in its artistic, social and critical undertakings. The questions brought to bear by the exhibition of contemporary art and culture in various situations is something I am interested in researching further with a degree in curating.
Unfortunately, not all of us are able to visit the world’s most amazing museums which showcase all of our favorite artist. Luckily, museums now have the ability to showcase their current masterpieces in stock online. In this essay, we will describe, analyze, and interpret three of my favorite masterpieces currently being showcased in three different museums.
Frascina & Harris (eds), Art in Modern Culture: An anthology of critical texts, Phaidon, 1992
Jacob, M. J. 2006. Making Space for Art. In P. Marincola. What Makes a Great Exhibition? Philadelphia: Philidelpia Centre for Arts and Heritage, pp:134-141.
Art has always played a key role in shaping world culture, and it has always been a very important part of the culture in the United States. But it hasn’t always been what it is today. Long before colonization and the establishment of the United States, Art was an integral and influencing factor of European society. In Europe the art movement was already defined, shaping European life and culture in full scale on a day-to-day basis. European Artist where already well known in the rest of the world and set the standard for what was known as visual art in the forms of painting, sculpture and architecture.
He stated, "Orientalism is more particularly valuable as a sign of European Atlantic power over the Orient than it is a veridic (truthful) discourse about the Orient.” The nexus of authority with knowledge empowered the West to generalise and misrepresent the orient, consequently subjugating and controlling it. By exaggerating and distorting the difference between the familiar occident (West) and the alien orient (East), they are constructing the East as the extremely inferior, backward and foreign counterpart of the West, in need of Western ‘rescue’. It is therefore this colonialist podium, which the Orientalist artist stands on that, in part, generates Roger Benjamin’s notion of the ‘Oriental mirage’. The concept that a “travelling artists always has an unstable view of its subjects” is concrete, imitative painting of any kind is an estimation. However the Imperialist and Colonialist credentials of the orientalist artists inevitably skews this image further. The mirage becomes additionally distorted as they are faced with the obstacles of cultural misunderstanding and ethnocentrism. Jean-Léon Gérôme and Henri Matisse alike both ‘suffered’ from this colonialist cultural curtain, which was drawn across and
With the international immigration and wide variety of art forms, it is truly a wonder how we came to intertwine international practices and call them our own. Beginning with the 20th century, artists and their creations generated thoughts and feelings that contributed to shaping and developing what we know today as “American culture,” consisting of a combination of various ethnical cultures and art pieces made from artists around the world. Historical events, along with the feelings and expressions of regular humans sculpted the “American culture
To support using art for social justice and human rights there are influential techniques that get involved in the movement. The International Museum of Folk Art’s Gallery of Consciences’ goal is to “be an agent of positive social change by engaging history, dialogue and personal reflection”. The statement is an example of how art is seen to have a significant part to play against racism and intolerance. The power of the art is a reminder that good still exists in a time where it is often forgotten, this type of work can have huge social impacts and improve human
In the 1960s, E.H. Gombrich stated that, as humans, we have an epistemological need to classify things, particularly in the realm of art. However, the Western-Centric master-narrative of Art History has been exposed as flawed in its exclusion of many regions of the world, as well as its dependence on periodization. Adding to the problematic nature of this approach to the history of visual works, this linear framework of the evolution of art has hit a snag at the end of post-modernism, resulting in the scholarly debate over what comes next. In our globalized society, it has become increasingly difficult to make a distinction between art movements even in terms of location. This has resulted in an essential, yet deceptively complicated question: