On this blog, we will explore several major aesthetic theories from realism to postmodernism and engage in a dialogue about the very nature of art. Key contemporary artists will be explored in depth as each theory is unpacked and examined.
Each response should be between 150-250 words in length. These are due on the date listed at the top of each entry,
Tuesday, October 23, 2012
Postcolonialism
Why is the postcolonial perspective so important to contemporary art and how does this group of theories fit in with the rest of postmodern theory? How does the work of Kimsooja and El Anatsui seem supported by postcolonialism?
The postcolonial perspective is important to contemporary art because postcolonial-inspired artists create art that allows the viewer insight into their respective cultures. Westerners (who were the colonizers) are the prominent writers of postcolonial studies; this is unfortunate because individuals are only exposed to this interpretation of the past. So, it is very valuable when an artist, coming from a previously colonized nation, makes art statements from his or her perspective. Postcolonial theory fits into postmodernism because the art that relates to postcolonial theory allows for a focus on message rather than formal elements; it is more than just art for art's sake. The work of both Kimsoja and El Anatsui are supported by postcolonialism because the artists serve as ambassadors of their respective countries and provide insight to life outside Western culture. Kimsooja's bottaris reference her Korean culture, and El Anatsui's hanging bottlecaps relate to the effect of alcohol on African culture during the colonization period. However, as I have already stated, we as Westerners primarily read theories of colonization from our perspective, and therefore, miss out on a lot of the meaning behind the work of artists like Kimsooja and El Anatsui because of how our culture makes theirs so foreign. Walking into a gallery, the viewer, limited by his or her perspective, may only view El Anatsui's bottlecaps or Kimsooya's bottaris for their aesthetic appeals. If guided by the curiosity and freedom of postmodernism, these works are valuable because understanding of their meanings can broaden our knowledge of cultures other than our own.
The postcolonial perspective is so important to contemporary art because it allows artist a means to express their own culture and identity, especially when they come from a colonized nation. As Nicole said, it gives viewers a new perspective and insight into a culture and nation’s past that would otherwise be lost and masked by the colonizing nation’s culture. The postcolonial perspective fits within postmodern theory in that comments on culture and society and incorporates it into art.
The work of El Anatsui is supported by postcolonialism because his works criticize the colonization of his country by Westerners and the consequences of slavery and alcoholism that accompanied it. There is a reversal of power in Anatsui’s work where his works are brought into foreign environments and the cultural meanings behind his works are projected onto his viewers. Ironically, Anatsui’s work acts as the colonizing power while the viewers are representative of the native people. Similarly, Kimsooja projects her eastern culture and identity onto viewers from western societies. In Kimsooja’s works, she purposely keeps her back to the audience so that her “body functions as a void to the audience so that it sees through me, through my body, and sees what I’m seeing in the site.” As Nicole said, both artist act as ‘cultural ambassadors’ for their countries and allow viewers a critical insight into cultures and societies different from their own.
Postcolonial theory, as Nicole and Anastasia previously pointed out, allows an artist to express and provide insight into their culture and identity. El Anatsui’s bottle cap tapestries carry with them the heavy weight of alcohol and slave trade that arrived with the colonizers. These woven works of recycled material display the destructiveness that colonization had on his nation. Today, especially in the West, we generally have a glossed over view of the slavery and trade that occurred well before our time and Anatsui’s works mimic that by presenting a very shiny, oftentimes golden appearance on first glance. It is only when the viewer gets closer to the work that the true nature of the material is revealed, much like delving into the disturbing history of the slave trade.
Kimsooja’s work with bottaris also serves a postcolonial purpose. By the artist placing these culturally significant and utilitarian items, like bottaris, in different cultures and contexts, the meaning and significance of them changes dramatically. Kimsooja mentioned in the Art21 video how she saw the bottari take on a purely formalistic purpose when displayed in a museum. In the reading on postcolonialism it states that: “the West, in its construction of the ‘Orient,’ is failing to see the true cultures and peoples that occupy the nations and spaces of the East” (53). I think that Kimsooja’s bottaris and their shifting meaning demonstrate this concern in the construction of the “other” and the removal of cultural significance that occurs during this construction. Postcolonialism fits into postmodernism because it supports the idea that art and life cannot be separated. These artists create works based off their personal experiences and insights as the colonized and, in doing so, critique the colonizers; displaying the all-encompassing quality that art can have.
In contemporary art, like we have mentioned many times before, there is this new allowance to speak about anything the artist so wishes. This is also inclusive with the new addition (as it wasn’t a focal point in past art movements) of political topics. Postcolonial perspective and theory is a part of those political discussions through art. After the colonial rule, artists explore cultural, national, ethnic, and racial ideology and the negative impact that occurred during the colonial rule—now that they are less tied to such constraints and restrictions. Anatsui talks about how in Africa broken pottery is used as vessels for sacrifices and offerings, because ‘it’s like the pot has died and therefore it’s fit to serve the spirits.’ He also says that broken pots are looked for because once ground up they serve new clay to become much stronger. Postcolonial theory serves his ceramic work and concept, by supporting cultural and racial identity. Over time, our cultures are broken down, but they only become stronger when those broken experiences shape how new future cultural relations are made. Anastasia points Nicole’s true statement that both artist act as ‘cultural ambassadors’ for their countries and allow viewers a critical insight into cultures and societies different from their own. Kimsooja says that “All the questions I had as an artist personally or professionally were always linked to life itself. And I saw art in life and life as an art. I couldn’t separate one from another.” Her life and cultural experiences will always be somehow linked to her art work.
Post colonial theory gives insight into why and how the world got to be where it is today. Therefore, it's an important theory to be aware of when observing and critiquing contemporary artwork. Almost every topic discussed in today's art world was in some way effected by colonialism. Even if its not an obvious link (i.e. processed food and melting glacier caps are two topics we wouldn't normally relate to colonialism, even though they're a result of the increased technology that's come from colonization and exploitation) almost every topic we discuss has some link to colonial theory.
Kimsooja and El Anatsui are two contemporary artists with very obvious links to colonialism. Inspired by their heritage and the social structures of our modern world, both artists make statements about the effects that colonialism continues to have on today's society. El Anatsui uses bottle caps in innovative ways to make textile-like wall hangings which comment on the effects alcohol continues to have on Nigeria. From the time of colonialism when alcohol was used as a medium for trading slaves to the current day effects of alcoholism that plague the country, alcohol has played a very large role in the tragic story of Nigeria's past and present. El Anatsui wants to make people aware of that reality through his artwork and uses found bottle caps as a means of expressing it.
Kimsooja uses a very different approach in her artwork but ultimately has the same message: non-white people have been marginalized, used, and degraded throughout the years due to colonialization. Especially women. Due to the social constructs that we have created over time (white males being at the top of the power ladder and darker skinned females at the very bottom) women of non-European origin struggle to find a sense of power and place within today's society.
Within the realm of post-modern artwork, El Anatsui and Kimsooja's artwork fits perfectly because it is content based rather than aesthetically based, and has a larger social message behind it.
The postcolonial perspective is important to contemporary art because in its' essence, post colonialism breaks away from previously established styles and ideals, which the colonizers put in place, in search of a new form of communication through art. This makes sense in my head but bear with me here. Think of modernism as the colonizers. They come into your land and tell you this is exactly how life (art) is supposed to be. You follow this way of life until you get tired of it and rebel. You win the rebellion, and now you're stuck in the postcolonial perspective in search of your true identity. You're not going to follow the old rules, you're going to avoid them at all costs and break them as often as possible. You're going to want to express yourself and your ideas and the stories about being colonized in new and creative ways. Thus, the natural progression from oppression (modernism, colonialism) has been achieved, and now you find yourself in the postcolonial era making art that rejects previous styles and expresses themes of race and cultural and personal identity.
The work of Kimsooja fits in with post colonialism because all of her work seems to be focused on a search for her true identity, and a culture in which she belongs. The videos of her standing in the crowd, motionless, as everyone moves around her are the perfect example. She feels lost in the crowd, disconnected, not sure whether to move forward, backwards, or get out of the way. One can imagine that this feeling of not belonging must be a dominant one in a postcolonial culture. El Anastuis work is more of a commentary on the physical hardships left behind by colonialism such as alcoholism and poverty. Anatsui is helping his culture both by creating art that expresses their past and present but also by employing his people and giving them hope of a brighter, more identifiably African, future.
Postcolonial art has a unique tie with postmodernism in its ability to share matters of identity with the viewer. For postcolonialism, identity can mean the story of one personally or for a culture as a whole. This intention is one that differs from art of the past, which was an attempt to progress art the form rather than display personal messages. Postcolonial art is characterized by art that is made by people from previously colonized nations. This specific niche of art is also applicable to that made by people suppressed within society. In this sense, postcolonial art ties in with feminism (another form of postmodernism). Kimsooja deals with postcolonial themes in her work, which identifies with her Korean nationality. Her textiles often use traditional Korean forms, colors, and patterns. In this way she identifies with her national heritage. Her work deals specifically with identity, as she is a "needlewoman" allowing herself to be taken over by a culture. El Anatsuis offers a more critical perspective on his African heritage. His work uses caps from liquor bottles, which ties in with the theme of liquor as having a direct link to the slave trade. Further, the colors he uses in a painter-like fashion are traditional for African textiles. Overall, both artist's identify under postcolonial themes.
The postcolonial perspective is important to contemporary art because it allows the artist to express their identity and culture. Nicole said, “it gives viewers a new perspective and insight into a culture and nation’s past that would otherwise be lost and masked by the colonizing nation’s culture.” It allows for the continuation of tradition and self-expression. It allows oneself mind to free and feel their past ways. Kimsooja and El Anatsui are supported by postcolonialism because they are essentially couriers of their countries which provide education to us and their people from outside of the Western world. El Anatsui is supported by postcolonialism because he critiques the colonization and rapid changes in his country on Westerners and consequences of alcoholism and slavery that has desecrated his country. Kimsooja represents her Eastern heritage and works with a non representational back to her work. Her function is for the audience to see past her, so they can see what she is looking at through a different perspective. Her work allows critical insight into a new world of directional ambiguity. -Peter
Why is the postcolonial perspective so important to contemporary art and how does this group of theories fit in with the rest of postmodern theory? How does the work of Kimsooja and El Anatsui seem supported by postcolonialism?
Postcolonial theory explores the cultures and identities of peoples of nations under another nations control. Artist expose these relationships and sometimes subvert the power structure. Postcolonial theory can be applied to power over sub-populations in the same nation. This perspective allows the artist to express their culture and identity, and, as PC stated above, for the continuation of tradition and self-expression, while allowing oneself to free their mind. El Anatsui's works engage the cultural, social and economic histories of West Africa by drawing on the aesthetic traditions of his native Ghana and adopted Nigeria, as well as Contemporary Western forms of expression. His metal fragments provide a commentary on globalization, consumerism, waste, and the transience of peoples lives in West Africa and beyond. Kimsooja uses textiles with traditional Korean forms, colors and patterns in order to identify with her national heritage. Her videos also portray her connection to her heritage which is engaging and enlightening. As Nicole said, both artist act as ‘cultural ambassadors’ for their countries and allow viewers a critical insight into cultures and societies different from their own.
The postcolonial perspective is important to contemporary art because postcolonial-inspired artists create art that allows the viewer insight into their respective cultures. Westerners (who were the colonizers) are the prominent writers of postcolonial studies; this is unfortunate because individuals are only exposed to this interpretation of the past. So, it is very valuable when an artist, coming from a previously colonized nation, makes art statements from his or her perspective. Postcolonial theory fits into postmodernism because the art that relates to postcolonial theory allows for a focus on message rather than formal elements; it is more than just art for art's sake. The work of both Kimsoja and El Anatsui are supported by postcolonialism because the artists serve as ambassadors of their respective countries and provide insight to life outside Western culture. Kimsooja's bottaris reference her Korean culture, and El Anatsui's hanging bottlecaps relate to the effect of alcohol on African culture during the colonization period. However, as I have already stated, we as Westerners primarily read theories of colonization from our perspective, and therefore, miss out on a lot of the meaning behind the work of artists like Kimsooja and El Anatsui because of how our culture makes theirs so foreign. Walking into a gallery, the viewer, limited by his or her perspective, may only view El Anatsui's bottlecaps or Kimsooya's bottaris for their aesthetic appeals. If guided by the curiosity and freedom of postmodernism, these works are valuable because understanding of their meanings can broaden our knowledge of cultures other than our own.
ReplyDeleteThe postcolonial perspective is so important to contemporary art because it allows artist a means to express their own culture and identity, especially when they come from a colonized nation. As Nicole said, it gives viewers a new perspective and insight into a culture and nation’s past that would otherwise be lost and masked by the colonizing nation’s culture. The postcolonial perspective fits within postmodern theory in that comments on culture and society and incorporates it into art.
ReplyDeleteThe work of El Anatsui is supported by postcolonialism because his works criticize the colonization of his country by Westerners and the consequences of slavery and alcoholism that accompanied it. There is a reversal of power in Anatsui’s work where his works are brought into foreign environments and the cultural meanings behind his works are projected onto his viewers. Ironically, Anatsui’s work acts as the colonizing power while the viewers are representative of the native people. Similarly, Kimsooja projects her eastern culture and identity onto viewers from western societies. In Kimsooja’s works, she purposely keeps her back to the audience so that her “body functions as a void to the audience so that it sees through me, through my body, and sees what I’m seeing in the site.” As Nicole said, both artist act as ‘cultural ambassadors’ for their countries and allow viewers a critical insight into cultures and societies different from their own.
Postcolonial theory, as Nicole and Anastasia previously pointed out, allows an artist to express and provide insight into their culture and identity. El Anatsui’s bottle cap tapestries carry with them the heavy weight of alcohol and slave trade that arrived with the colonizers. These woven works of recycled material display the destructiveness that colonization had on his nation. Today, especially in the West, we generally have a glossed over view of the slavery and trade that occurred well before our time and Anatsui’s works mimic that by presenting a very shiny, oftentimes golden appearance on first glance. It is only when the viewer gets closer to the work that the true nature of the material is revealed, much like delving into the disturbing history of the slave trade.
ReplyDeleteKimsooja’s work with bottaris also serves a postcolonial purpose. By the artist placing these culturally significant and utilitarian items, like bottaris, in different cultures and contexts, the meaning and significance of them changes dramatically. Kimsooja mentioned in the Art21 video how she saw the bottari take on a purely formalistic purpose when displayed in a museum. In the reading on postcolonialism it states that: “the West, in its construction of the ‘Orient,’ is failing to see the true cultures and peoples that occupy the nations and spaces of the East” (53). I think that Kimsooja’s bottaris and their shifting meaning demonstrate this concern in the construction of the “other” and the removal of cultural significance that occurs during this construction. Postcolonialism fits into postmodernism because it supports the idea that art and life cannot be separated. These artists create works based off their personal experiences and insights as the colonized and, in doing so, critique the colonizers; displaying the all-encompassing quality that art can have.
In contemporary art, like we have mentioned many times before, there is this new allowance to speak about anything the artist so wishes. This is also inclusive with the new addition (as it wasn’t a focal point in past art movements) of political topics. Postcolonial perspective and theory is a part of those political discussions through art. After the colonial rule, artists explore cultural, national, ethnic, and racial ideology and the negative impact that occurred during the colonial rule—now that they are less tied to such constraints and restrictions.
ReplyDeleteAnatsui talks about how in Africa broken pottery is used as vessels for sacrifices and offerings, because ‘it’s like the pot has died and therefore it’s fit to serve the spirits.’ He also says that broken pots are looked for because once ground up they serve new clay to become much stronger. Postcolonial theory serves his ceramic work and concept, by supporting cultural and racial identity. Over time, our cultures are broken down, but they only become stronger when those broken experiences shape how new future cultural relations are made. Anastasia points Nicole’s true statement that both artist act as ‘cultural ambassadors’ for their countries and allow viewers a critical insight into cultures and societies different from their own. Kimsooja says that “All the questions I had as an artist personally or professionally were always linked to life itself. And I saw art in life and life as an art. I couldn’t separate one from another.” Her life and cultural experiences will always be somehow linked to her art work.
Post colonial theory gives insight into why and how the world got to be where it is today. Therefore, it's an important theory to be aware of when observing and critiquing contemporary artwork. Almost every topic discussed in today's art world was in some way effected by colonialism. Even if its not an obvious link (i.e. processed food and melting glacier caps are two topics we wouldn't normally relate to colonialism, even though they're a result of the increased technology that's come from colonization and exploitation) almost every topic we discuss has some link to colonial theory.
ReplyDeleteKimsooja and El Anatsui are two contemporary artists with very obvious links to colonialism. Inspired by their heritage and the social structures of our modern world, both artists make statements about the effects that colonialism continues to have on today's society. El Anatsui uses bottle caps in innovative ways to make textile-like wall hangings which comment on the effects alcohol continues to have on Nigeria. From the time of colonialism when alcohol was used as a medium for trading slaves to the current day effects of alcoholism that plague the country, alcohol has played a very large role in the tragic story of Nigeria's past and present. El Anatsui wants to make people aware of that reality through his artwork and uses found bottle caps as a means of expressing it.
Kimsooja uses a very different approach in her artwork but ultimately has the same message: non-white people have been marginalized, used, and degraded throughout the years due to colonialization. Especially women. Due to the social constructs that we have created over time (white males being at the top of the power ladder and darker skinned females at the very bottom) women of non-European origin struggle to find a sense of power and place within today's society.
Within the realm of post-modern artwork, El Anatsui and Kimsooja's artwork fits perfectly because it is content based rather than aesthetically based, and has a larger social message behind it.
The postcolonial perspective is important to contemporary art because in its' essence, post colonialism breaks away from previously established styles and ideals, which the colonizers put in place, in search of a new form of communication through art. This makes sense in my head but bear with me here. Think of modernism as the colonizers. They come into your land and tell you this is exactly how life (art) is supposed to be. You follow this way of life until you get tired of it and rebel. You win the rebellion, and now you're stuck in the postcolonial perspective in search of your true identity. You're not going to follow the old rules, you're going to avoid them at all costs and break them as often as possible. You're going to want to express yourself and your ideas and the stories about being colonized in new and creative ways. Thus, the natural progression from oppression (modernism, colonialism) has been achieved, and now you find yourself in the postcolonial era making art that rejects previous styles and expresses themes of race and cultural and personal identity.
ReplyDeleteThe work of Kimsooja fits in with post colonialism because all of her work seems to be focused on a search for her true identity, and a culture in which she belongs. The videos of her standing in the crowd, motionless, as everyone moves around her are the perfect example. She feels lost in the crowd, disconnected, not sure whether to move forward, backwards, or get out of the way. One can imagine that this feeling of not belonging must be a dominant one in a postcolonial culture. El Anastuis work is more of a commentary on the physical hardships left behind by colonialism such as alcoholism and poverty. Anatsui is helping his culture both by creating art that expresses their past and present but also by employing his people and giving them hope of a brighter, more identifiably African, future.
Postcolonial art has a unique tie with postmodernism in its ability to share matters of identity with the viewer. For postcolonialism, identity can mean the story of one personally or for a culture as a whole. This intention is one that differs from art of the past, which was an attempt to progress art the form rather than display personal messages. Postcolonial art is characterized by art that is made by people from previously colonized nations. This specific niche of art is also applicable to that made by people suppressed within society. In this sense, postcolonial art ties in with feminism (another form of postmodernism).
ReplyDeleteKimsooja deals with postcolonial themes in her work, which identifies with her Korean nationality. Her textiles often use traditional Korean forms, colors, and patterns. In this way she identifies with her national heritage. Her work deals specifically with identity, as she is a "needlewoman" allowing herself to be taken over by a culture. El Anatsuis offers a more critical perspective on his African heritage. His work uses caps from liquor bottles, which ties in with the theme of liquor as having a direct link to the slave trade. Further, the colors he uses in a painter-like fashion are traditional for African textiles. Overall, both artist's identify under postcolonial themes.
The postcolonial perspective is important to contemporary art because it allows the artist to express their identity and culture. Nicole said, “it gives viewers a new perspective and insight into a culture and nation’s past that would otherwise be lost and masked by the colonizing nation’s culture.” It allows for the continuation of tradition and self-expression. It allows oneself mind to free and feel their past ways.
ReplyDeleteKimsooja and El Anatsui are supported by postcolonialism because they are essentially couriers of their countries which provide education to us and their people from outside of the Western world.
El Anatsui is supported by postcolonialism because he critiques the colonization and rapid changes in his country on Westerners and consequences of alcoholism and slavery that has desecrated his country.
Kimsooja represents her Eastern heritage and works with a non representational back to her work. Her function is for the audience to see past her, so they can see what she is looking at through a different perspective. Her work allows critical insight into a new world of directional ambiguity.
-Peter
Why is the postcolonial perspective so important to contemporary art and how does this group of theories fit in with the rest of postmodern theory? How does the work of Kimsooja and El Anatsui seem supported by postcolonialism?
ReplyDeletePostcolonial theory explores the cultures and identities of peoples of nations under another nations control. Artist expose these relationships and sometimes subvert the power structure. Postcolonial theory can be applied to power over sub-populations in the same nation. This perspective allows the artist to express their culture and identity, and, as PC stated above, for the continuation of tradition and self-expression, while allowing oneself to free their mind. El Anatsui's works engage the cultural, social and economic histories of West Africa by drawing on the aesthetic traditions of his native Ghana and adopted Nigeria, as well as Contemporary Western forms of expression. His metal fragments provide a commentary on globalization, consumerism, waste, and the transience of peoples lives in West Africa and beyond. Kimsooja uses textiles with traditional Korean forms, colors and patterns in order to identify with her national heritage. Her videos also portray her connection to her heritage which is engaging and enlightening. As Nicole said, both artist act as ‘cultural ambassadors’ for their countries and allow viewers a critical insight into cultures and societies different from their own.