Monday, May 3, 2010

Colonialism and Post-Colonialism

What defines globalism? Is there a common theme or goal or is it simply a choice to include cultural references?

Is it possible for a person from a colonized country (current or former) to make work without speaking of globalization?

Berni Searle, Snow White, 2001, Two projector video installation

Yinka Shonibare, Gallantry and Criminal Conversation, 2002

Corporations, Globalization and Collective Identity

Mutability of cultural icons: a coke bottle does not mean the same thing in the US as it does in Nigeria

Do you think the effect of globalization has been to homogenize cultures worldwide? Consider Michael Kimmelman's example of the neo-nazis connected through an online community.

What is the difference between globalization and westernization?

Ai Wei Wei, Han Dynasty Urn with Coca-Cola Label, 1994

Cildo Miereles, Insertion into Idealogical Circuits- Coca-Cola Project, 1970

Telling a Story/Geographical Boundaries

To what extent can globalism be seen as a privileged activity?

Telling the stories of others:

Alfredo Jaar, Emergencia,1998

Lothar Baumgarter, Tongue of the Cherokee, 1987-88

Some artists tell their personal story:

Do-Ho Suh, Blue Green Bridge, 2000

Do-Ho Suh, Blue Green Bridge (detail), 2000

Collective questions on the state of the world:

Andreas Gursky, 99 Cent, 1999

Cai Guo-Qiang, Cultural Melting Bath, 1997

O Zhang, Daddy & I, no.35, 2006
O Zhang, Daddy & I, no 18, 2006

O Zhang, Daddy & I, no 7, 2005

Artists using geographical boundaries to challenge our understanding of place:

Yukinori Yanagi, The World Flag Ant Farm, 1990

Alighiero e Boetti, Mappa, 1989

Alighiero e Boetti, Mappa, 1990

Second Life and Online Communites

Destabilized identity is mentioned in the chapter. As globalization destabilizes a sense of collective identity, it may also paradoxically enable people to create their own identities. Do you agree with Kimmelman's assertion that we now live in an age where we can create our own unique culture?

Is there a difference between culture and identity?

Is it a good idea to further internet access to countries that have limited access? Given all we know about the perils of increased globalization, should we prompt others to engage the world in a similar way?

Sunday, May 2, 2010

Trying to escape physical boundaries

What are some pros and cons of globalization?

Liza Lou, Kitchen, 1991-94

What are the implications of the modern accessibility of travel Would this artist have felt so desperate 50 years ago when travel wasn't so common? What are the environmental implications of our traveling habits, and is there a limit to how much globalization the world can support?

Kcho, In My Mind, 1995-7

Kcho, Archipelago IV

Kcho, Untitled, 2005

The Slow Movement

"The Slow Movement aims to address the issue of 'time poverty' through making connections... We want connection to people - ourselves, our family, our community, our friends, - to food, to place (where we live), and to life. We want connection to all that it means to live – we want to live a connected life."


Joyce Kozloff

"...cartographic works by Joyce Kozloff considers such issues of place, location, and identity. Kozloff examines relationships of power, gender, and global politics through the imagery of maps and cartography. Her paintings, some of which cover spherical surfaces and globes, include and at times combine features from maps of the ancient world, the Age of Discovery, and the digital era to examine issues of identity and territorial conquest and act as metaphors for people, culture, body, and mind."
-Phillip Earenfight
Director, The Trout Gallery

Joyce Kozloff, Spheres of Influence, 2001

Joyce Kozloff, Around the World on the 44th Parallel, 1995

Joyce Kazloff, Targets, 2000

Joyce Kozloff, Targets (detail), 2000

Joyce Kozloff, Los Angeles Becoming Mexico City Becoming Los Angeles, 1992–1993

Joyce Kozloff, Knowledge 31: The Holy Land, 1584, 1998

Marlene Creates

"The series reveals a pattern of land use in rural Newfoundland where land has been passed down from generation to generation, divided into smaller and smaller pieces among sons and nephews and, with some interesting exceptions, inherited by daughters. But the statements that interest me most are the ones I regard as poetic and even elegiac — describing an affectionate connection to the places and a sadness over changes and loss that have occurred over time<...>These intersections are powerful, some are painful, and all are elusive, fragile, and improbable"-Marlene Creates

Marlene Creates, Places of Presence: Newfoundland kin and ancestral land, Newfoundland, 1989-1991

Julie Mehretu

"Mehretu's points of departure are architecture and the city, particularly the accelerated, compressed and densely populated urban environments of the 21st century. Her canvases overlay different architectural features such as columns, facades and porticoes with different geographical schema such as charts., building plans and city maps and architectural renderings, seen from different perspectives, at once aerial, cross-section and isometric. Her paintings present a tornado of visual incident where gridded cities become fluid and flattened, like many layers of urban graffiti. Mehretu has described her rich canvases as ' story maps of no location' rather than actual reality."
-White Cube

Julie Mehretu, Black Ground (deep light), 2006

Julie Mehretu, Dispersion, 2002

Outsourcing in the Arts

Noelle Mason, Ground Control, 2005

"Ground Control is a wool Gobelin rug made in Guadalajara, Mexico by Antonio Flores and Jonathan Samaniego in exchange for the amount of money it would cost a family of four to illegally immigrate to the United States. Originally used to reproduce famous works of art and religious motifs, Gobelin is a French tapestry tradition assimilated by Mexican artisans in the mid 20th century. Ground Control reconstructs an image of the US Mexico border taken by the Terra satellite's Advanced Spaceborn Thermal Emission Reflection Radiometer (ASTER). Ground Control is an exercise in free monetary/commodity exchange across the U.S./Mexico border in contradistinction to the growing restrictions on human migration."
-Noelle Mason

Charles Ray, Hinoki, 1998-2007

Global Interactivity

Emily Jacir

Where We Come From, 2002
"The starting point of the piece and of the action it is based on, is the following question, addressed to Palestinians living in exile: "If I could do anything for you, anywhere in Palestine, what would it be?" The artist exploited the liberty of movement (still not void of danger) provided by her passport issued in the United States to fulfill the wishes she received. In her installation, Emily Jacir documents the wishes and the fate or status of the people, who expressed them and then what she did in order to fulfill each wish."
-Nafas Art Magazine

Do something on a normal day in Haifa, something I might do if I was living there now.

Visit my mother, hug and kiss her and tell her that these are from her son. Visit the sea at sunset and smell it for me and walk a little bit...enough. Am I greedy?

Drink the water in my parent's village.

Sign a condolence book for Faisal al-Husseini, who was my hero and idol.

Go to Jerusalem and light a candle on the grave of Christ in the Holy Sepulcher Church and then go to al-Asqsa Mosque and pray to God to ease the pressure and help those who are needy in both places.

Wafaa Bilal
"Bilal's self imposed confinement is designed to raise awareness about the life of the Iraqi people and the home confinement they face due to the both the violent and the virtual war they face on a daily basis. This sensational approach to the war is meant to engage people who may not be willing to engage in political dialogue through conventional means. DOMESTIC TENSION will depict the suffering of war not through human displays of dramatic emotion, but rather through engaging people in the sort of playful interactive video game with which they are familiar."

Wafaa Bilal, Domestic Tension, 2007

-Globalism as a conversation

Cat Mazza, Nike Petition