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
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
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
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:
Yukinori Yanagi, The World Flag Ant Farm, 1990
Alighiero e Boetti, Mappa, 1989
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?
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
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."
-theslowmovement.com
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."
-theslowmovement.com
Mapping
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
"...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
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