By Steven Leuthold
Cross-Cultural concerns in artwork presents a fascinating creation to aesthetic thoughts, increasing the dialogue past the standard Western theorists and Western examples. Steven Leuthold discusses either modern and historic matters and examples, incorporating more than a few special case reviews from African, Asian, ecu, Latin American, center jap and local American paintings. person chapters handle huge intercultural matters in paintings, together with artwork and tradition, Primitivism and Otherness, Colonialism, Nationalism, artwork and faith, Symbolism and Interpretation, sort and Ethnicity, a feeling of position, paintings and Social Order, Gender, and the Self, contemplating those issues as constructs that body our realizing of artwork. Cross-Cultural matters in paintings attracts upon rules and case stories from cultural and important reviews, paintings heritage, ethno-aesthetics and sector stories, visible anthropology, and philosophy, and may be invaluable for undergraduate and postgraduate classes in those fields.
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Extra resources for Cross-Cultural Issues in Art: Frames for Understanding
Each painting in this series is marked with a Western brand. One irony is that his painting style and commentary on the collision of capitalist and Marxist cultures is now a brand that fetches high prices at auctions. © Photo by Paul Hilton/Bloomberg via Getty Images. Reproduced with permission. ART, CULTURE, AND HYBRIDITY 25 and designers), then, is to resituate desire/engagement in an intercultural context of globalization. We know that cultural production based solely upon economic needs often has the effect of hollowing existing cultural traditions of their meaning.
The standards ART, CULTURE, AND HYBRIDITY 17 that members of diverse groups use to judge quality may vary, and even come into conflict with one another, but the judgment of quality in the contemporary world is often an intercultural process. The point that quality is an aspect of judgment, along with the appropriateness of subject matter, ethics, and so on, is illustrated once again by the responses to the Ofili painting. ” My question is not whether they should continue to fund this with tax-payers’ money, or evict it, but more pointedly, who is responsible for deciding who is, and who is not, worthy of display?
In art, hybridization helps explain the adoption of Western practices such as easel painting by people who did not have a tradition of painting, whether in Africa, India, the Far East, or the Americas. Assimilation is even more complete when the “vocabularies” of Western painting traditions are also adopted; traditional genres such as still life, figure painting, landscape, abstraction, and so on may be adopted wholesale by non-Western peoples. One could argue that the non-Western artists’ adoption of contemporary forms such as installations, video art, and computer graphics is further evidence of assimilation in art.