Essay.
How does contemporary non western art exist in a western art context? For both Nats, and anyone else who can be bothered reading...
"The artist enriches the soul of humanity. The artist delights people with a thousand unsuspected shades of feeling. The artist reveals spiritual riches until then unknown, and gives people new reasons for loving life, new inner lights to guide them” (Rodin ,1998, p205)
The term ‘world art’ suggests a culturally diverse range of qualities concerning artists, ideas, movements, mediums and exhibitions. However, the notion of world art is not as extensive and reliable as its name suggests. It is in fact a very biased term as it primarily deals with western art. Therefore, the existence of Biennials is essential in order for other cultures to operate and impact upon the contemporary art world. Biennales offer non-western artists a platform to exhibit, and westerners a chance to gain a greater understanding and appreciation of the concepts, aesthetics and qualities evident to non-western art; thus creating the true notion of ‘world art’.
British writer Rudyard Kipling wrote, “West is West and East is East and never the twain shall meet.” Jim Supangkat refers to the western world as ‘mainstream’ and non western as the ‘third world’. Due to these common mentalities and classifications, as well as the domination of western culture, and its art/artists; it is necessary to identify the acquisition of these terms.
The expression ‘western’ denotes more than a physical place. It signifies a cultural dissection that occurred before Christ, describing the division between Greeks and Barbarians. In addition, ‘western’ was used to describe the Latin speaking half of the Roman Empire, which was ruled by the Pope. In 1947, the cold war redefined the term and eventually nations became divided into three classes or ‘worlds’. The first world consisted of industrialised nations such as the United States of America, Britain and Canada, which developed NATO (North Atlantic Treaty Organisation). The second world, also know as the Eastern Bloc, was comprised considerably by the Soviet Union, Bulgaria, Hungary and Poland. Whilst third world nations belonged to neither of the above, and were therefore considered neutral. Since the collapse of the Soviet Union and the end of the cold war, the category of second world is no longer applicable. The first world is called ‘western’ and is predominantly wealthy, democratic Christian nations. The ‘third world’ usually refers to developing nations. In 2005 however, the once definite line between western and non-western culture is now becoming less distinguishable.
There are numerous international affairs that confirm western world domination across more areas than art. For example car manufacturing, the American film and television industry and record companies. Due to this concentrated western influence and environment, a passive interest in new and diverse art from many unique cultures has resulted. Therefore it is imperative that Biennials and Triennials exist, as it is important to be receptive and engage with the art of the non western world. This ideology became reinforced in 1993, with the response to the first Triennial at the Queensland Art Gallery indicating “a regional and international significance for the Triennial in helping to redress a lack of knowledge in the West of the dynamic contemporary art of Asia and the Pacific.” (Turner, 1996, p32)
At a glance, artists involved in the 2004 Biennale of Sydney such as Zhang Xiaogang, Dang Thi Khue, Chatchai Puipia, and Agus Suwage who represented their respective countries at this Biennale, created an energy that forced the comfort zone of the western art world to explode. Chairman Luca Belgiorno-Nettis stated “The Biennale of Sydney seeks to challenge the Australian socio-cultural context by presenting foreign and local artists with innately different view points…the reality is that the appreciation of other cultures is a lifelong journey.” (2004, p19) This notion stands to justify the absolute importance of international art exhibitions, as Biennales and Triennials are the only contemporary, sponsored, reputable and primarily non western dominated art shows.
The way in which a culture transforms and transcends, essentially takes place through the interrelation of a collective consciousness of individuals, sharing a physical, mental or spiritual environment. Upon the realisation that one is part of a given culture, - however that occurs - the individual has then the opportunity to become connected to, and so assimilating with, the fundamental aspects of that culture; thus establishing a greater appreciation of tradition. It is therefore disappointing to discover that a portion of artists of the non western climate, have had to assess whether cultural influences should be incorporated into their work. Jim Supangkat suggests that third world (non western) art is under pressure to regurgitate similar contemporary art, as developed in a western art context. “Within contemporary art itself, the domination continues… the third world’s artists have to make their works, expressions, visions conform to contemporary art ‘conventions’. Some have succeeded, some have not, and some have had to betray their artistic vision.”(1996, p28) Therefore it is clear that non western art is to an extent, westernised.
Many Indian artists face a similar concern, as the notion of tradition is no longer a foundation to expand from, rather a hindrance. “No Indian artist ignores the many traditions that punctuate India’s history… the question for artists is whether to accept tradition as a formula, assimilate it, transform it, borrow from it or apprehend it.” (Lynn, 1996, p44) This problem does not lie in the hands of the artists, but in the social process that supports these mentalities. “the system that covertly encourages artists to break with their origins and become part of an overheated art world operating the united states and Europe.”
Furthermore, the desire to display contemporary abstract art in the lobbies and offices of corporate Jakarta, and the growing market for such art by private collectors in Indonesia, explicitly confirms the infection of western Modernism. In 1995, Timothy Morrell, Curator of Contemporary Australian Art at the Queensland Art Gallery, attended the Contemporary Art of the Non-Aligned Countries conference which supported this mentality: “regional cultural identity is threatened by international style. Contemporary art buyers often look more to a ‘glamorous’ international style than to the deliberately ethnic-looking work which attracts the admiration of international curators” (1996 p52) The western culture contamination of the non western world has commenced the manifestation of a singular global civilisation; which as a result will blur the lines between a diverse and dynamic world.
For those artists who do seek to embrace their culture, their artworks showcase many unique views, which are not always recognised by the Australian public. The 2002 Asia Pacific Triennial of Contemporary Art included a number of artists whose work challenged the status-quo, through unique opinions and perspective. Indonesian artist Heri Dono exhibited ‘Glass vehicles’(fig 1) an installation of a singular figure contained in glass boxes, replicated numerous times. The figure is identified as a ‘little man’ or ‘Orang Kecil’. “The repetition of these figures symbolises the notion that group identity over individual ego is integral to Javanese conceptions of person and society.” (Ewington, 2002, p46) In addition his works embody animism, the belief that natural objects possess souls. Heri Dono’s work embodies Indonesian culture, without the reference to western culture.
Yin Xiuzhen, an urban artist situated in Beijing, utilizes her memory as a tool, when creating art. Since the early nineties there have been significant changes in world order, including the collapse of the Soviet Union and technological advances. As a result, a generation of artists are responding to these issues in order to comprehend the modernisation of their immediate urban environment they confront each day. Memory is used in Yin’s art work as a means of addressing historical, social, political and environmental issues. Her sculptural pieces are made using a bricolage type methodology, by collecting an assortment of materials including used clothes and suitcases. “peoples discarded items are imbued with a sense of history and experience”(Vergne, 2004,p222) The sculptures ‘Portable City: New York’(fig 2), ‘Portable City: Shenzhen’ (fig3) and ‘Portable City: Singapore’(fig 4) symbolizes the modern day connotation associated with a suitcase; a temporary container for physical belongings, creating a lucid sense of control over an intangible environment.
Aboriginal art work has never been superficial pretty pictures or mere assets, but a means to understand, survive and document their culture and their land. Aboriginal art, and its place within western society and western art conventions is an overwhelmingly, complex subject to discuss. However, it is clear so far, that cultural identity has been a source of inspiration and confusion for some, when entangled with the western world. For many non western nations, culture is intrinsically vital to their people, and this notion applies also to the Aboriginal community; as their spiritual, physical and mental connection with their environment still exists today-and has done so for an immense period of time. Australia however, does not assume a strong cultural heritage, as the nation itself is still very young. Australia may never have a definable culture, as the Australian society consists of cultures inherent to other countries. “the Australian identity is a perennial topic in our literature, a subject mostly posed as a question mark, something that is negligible, unmade as easily as it is made up” (Fink, 2002 p112) This notion poses an ironic and confusing situation. Qantas, one of the biggest Australian companies, has painted on (what would be the worlds biggest canvas of sorts) their Jumbo aeroplanes, with traditional Aboriginal dot paintings. These planes are possibly the most recognised in the world, and expose Indigenous art to every corner of the globe. So does this suggest that Australia is now borrowing elements of a culture, one which was not positively appreciated to begin with, in order to find some kind of identity? “Australia… has a one dimensional culture. There is no notion of the importance of culture as distinct from ethnicity.” (Castro, 2002 p115) Traditional Aboriginal art has an international market, without any aesthetic indication of the west, and it is disgusting that fake reproductions by westerners have occurred. Traditional Indigenous art is quite possibly the most dynamic, unique and contemporary looking art of the non western world. It is striking artwork that will always be exclusive to the Aboriginal culture.
As artists of the new millennia, it is our responsibility to interact with art from various cultures, in order to fertilise the western psyche with an informed and open minded approach to non western art. It is essential that the diversity between cultures is channelled into a positive notion, and the difference between ‘western’ and ‘non western’ culture is not a dissection but a reason to be enlightened. Therefore, attaining the existence of true ‘world art’.
“Art has a function and a mission to interpret the world, to reveal the condition of the soul, to encourage our higher nature and awaken the spiritual faculties within every individual.” (Grey 1998 p232)
"The artist enriches the soul of humanity. The artist delights people with a thousand unsuspected shades of feeling. The artist reveals spiritual riches until then unknown, and gives people new reasons for loving life, new inner lights to guide them” (Rodin ,1998, p205)
The term ‘world art’ suggests a culturally diverse range of qualities concerning artists, ideas, movements, mediums and exhibitions. However, the notion of world art is not as extensive and reliable as its name suggests. It is in fact a very biased term as it primarily deals with western art. Therefore, the existence of Biennials is essential in order for other cultures to operate and impact upon the contemporary art world. Biennales offer non-western artists a platform to exhibit, and westerners a chance to gain a greater understanding and appreciation of the concepts, aesthetics and qualities evident to non-western art; thus creating the true notion of ‘world art’.
British writer Rudyard Kipling wrote, “West is West and East is East and never the twain shall meet.” Jim Supangkat refers to the western world as ‘mainstream’ and non western as the ‘third world’. Due to these common mentalities and classifications, as well as the domination of western culture, and its art/artists; it is necessary to identify the acquisition of these terms.
The expression ‘western’ denotes more than a physical place. It signifies a cultural dissection that occurred before Christ, describing the division between Greeks and Barbarians. In addition, ‘western’ was used to describe the Latin speaking half of the Roman Empire, which was ruled by the Pope. In 1947, the cold war redefined the term and eventually nations became divided into three classes or ‘worlds’. The first world consisted of industrialised nations such as the United States of America, Britain and Canada, which developed NATO (North Atlantic Treaty Organisation). The second world, also know as the Eastern Bloc, was comprised considerably by the Soviet Union, Bulgaria, Hungary and Poland. Whilst third world nations belonged to neither of the above, and were therefore considered neutral. Since the collapse of the Soviet Union and the end of the cold war, the category of second world is no longer applicable. The first world is called ‘western’ and is predominantly wealthy, democratic Christian nations. The ‘third world’ usually refers to developing nations. In 2005 however, the once definite line between western and non-western culture is now becoming less distinguishable.
There are numerous international affairs that confirm western world domination across more areas than art. For example car manufacturing, the American film and television industry and record companies. Due to this concentrated western influence and environment, a passive interest in new and diverse art from many unique cultures has resulted. Therefore it is imperative that Biennials and Triennials exist, as it is important to be receptive and engage with the art of the non western world. This ideology became reinforced in 1993, with the response to the first Triennial at the Queensland Art Gallery indicating “a regional and international significance for the Triennial in helping to redress a lack of knowledge in the West of the dynamic contemporary art of Asia and the Pacific.” (Turner, 1996, p32)
At a glance, artists involved in the 2004 Biennale of Sydney such as Zhang Xiaogang, Dang Thi Khue, Chatchai Puipia, and Agus Suwage who represented their respective countries at this Biennale, created an energy that forced the comfort zone of the western art world to explode. Chairman Luca Belgiorno-Nettis stated “The Biennale of Sydney seeks to challenge the Australian socio-cultural context by presenting foreign and local artists with innately different view points…the reality is that the appreciation of other cultures is a lifelong journey.” (2004, p19) This notion stands to justify the absolute importance of international art exhibitions, as Biennales and Triennials are the only contemporary, sponsored, reputable and primarily non western dominated art shows.
The way in which a culture transforms and transcends, essentially takes place through the interrelation of a collective consciousness of individuals, sharing a physical, mental or spiritual environment. Upon the realisation that one is part of a given culture, - however that occurs - the individual has then the opportunity to become connected to, and so assimilating with, the fundamental aspects of that culture; thus establishing a greater appreciation of tradition. It is therefore disappointing to discover that a portion of artists of the non western climate, have had to assess whether cultural influences should be incorporated into their work. Jim Supangkat suggests that third world (non western) art is under pressure to regurgitate similar contemporary art, as developed in a western art context. “Within contemporary art itself, the domination continues… the third world’s artists have to make their works, expressions, visions conform to contemporary art ‘conventions’. Some have succeeded, some have not, and some have had to betray their artistic vision.”(1996, p28) Therefore it is clear that non western art is to an extent, westernised.
Many Indian artists face a similar concern, as the notion of tradition is no longer a foundation to expand from, rather a hindrance. “No Indian artist ignores the many traditions that punctuate India’s history… the question for artists is whether to accept tradition as a formula, assimilate it, transform it, borrow from it or apprehend it.” (Lynn, 1996, p44) This problem does not lie in the hands of the artists, but in the social process that supports these mentalities. “the system that covertly encourages artists to break with their origins and become part of an overheated art world operating the united states and Europe.”
Furthermore, the desire to display contemporary abstract art in the lobbies and offices of corporate Jakarta, and the growing market for such art by private collectors in Indonesia, explicitly confirms the infection of western Modernism. In 1995, Timothy Morrell, Curator of Contemporary Australian Art at the Queensland Art Gallery, attended the Contemporary Art of the Non-Aligned Countries conference which supported this mentality: “regional cultural identity is threatened by international style. Contemporary art buyers often look more to a ‘glamorous’ international style than to the deliberately ethnic-looking work which attracts the admiration of international curators” (1996 p52) The western culture contamination of the non western world has commenced the manifestation of a singular global civilisation; which as a result will blur the lines between a diverse and dynamic world.
For those artists who do seek to embrace their culture, their artworks showcase many unique views, which are not always recognised by the Australian public. The 2002 Asia Pacific Triennial of Contemporary Art included a number of artists whose work challenged the status-quo, through unique opinions and perspective. Indonesian artist Heri Dono exhibited ‘Glass vehicles’(fig 1) an installation of a singular figure contained in glass boxes, replicated numerous times. The figure is identified as a ‘little man’ or ‘Orang Kecil’. “The repetition of these figures symbolises the notion that group identity over individual ego is integral to Javanese conceptions of person and society.” (Ewington, 2002, p46) In addition his works embody animism, the belief that natural objects possess souls. Heri Dono’s work embodies Indonesian culture, without the reference to western culture.
Yin Xiuzhen, an urban artist situated in Beijing, utilizes her memory as a tool, when creating art. Since the early nineties there have been significant changes in world order, including the collapse of the Soviet Union and technological advances. As a result, a generation of artists are responding to these issues in order to comprehend the modernisation of their immediate urban environment they confront each day. Memory is used in Yin’s art work as a means of addressing historical, social, political and environmental issues. Her sculptural pieces are made using a bricolage type methodology, by collecting an assortment of materials including used clothes and suitcases. “peoples discarded items are imbued with a sense of history and experience”(Vergne, 2004,p222) The sculptures ‘Portable City: New York’(fig 2), ‘Portable City: Shenzhen’ (fig3) and ‘Portable City: Singapore’(fig 4) symbolizes the modern day connotation associated with a suitcase; a temporary container for physical belongings, creating a lucid sense of control over an intangible environment.
Aboriginal art work has never been superficial pretty pictures or mere assets, but a means to understand, survive and document their culture and their land. Aboriginal art, and its place within western society and western art conventions is an overwhelmingly, complex subject to discuss. However, it is clear so far, that cultural identity has been a source of inspiration and confusion for some, when entangled with the western world. For many non western nations, culture is intrinsically vital to their people, and this notion applies also to the Aboriginal community; as their spiritual, physical and mental connection with their environment still exists today-and has done so for an immense period of time. Australia however, does not assume a strong cultural heritage, as the nation itself is still very young. Australia may never have a definable culture, as the Australian society consists of cultures inherent to other countries. “the Australian identity is a perennial topic in our literature, a subject mostly posed as a question mark, something that is negligible, unmade as easily as it is made up” (Fink, 2002 p112) This notion poses an ironic and confusing situation. Qantas, one of the biggest Australian companies, has painted on (what would be the worlds biggest canvas of sorts) their Jumbo aeroplanes, with traditional Aboriginal dot paintings. These planes are possibly the most recognised in the world, and expose Indigenous art to every corner of the globe. So does this suggest that Australia is now borrowing elements of a culture, one which was not positively appreciated to begin with, in order to find some kind of identity? “Australia… has a one dimensional culture. There is no notion of the importance of culture as distinct from ethnicity.” (Castro, 2002 p115) Traditional Aboriginal art has an international market, without any aesthetic indication of the west, and it is disgusting that fake reproductions by westerners have occurred. Traditional Indigenous art is quite possibly the most dynamic, unique and contemporary looking art of the non western world. It is striking artwork that will always be exclusive to the Aboriginal culture.
As artists of the new millennia, it is our responsibility to interact with art from various cultures, in order to fertilise the western psyche with an informed and open minded approach to non western art. It is essential that the diversity between cultures is channelled into a positive notion, and the difference between ‘western’ and ‘non western’ culture is not a dissection but a reason to be enlightened. Therefore, attaining the existence of true ‘world art’.
“Art has a function and a mission to interpret the world, to reveal the condition of the soul, to encourage our higher nature and awaken the spiritual faculties within every individual.” (Grey 1998 p232)