2full page reflection paper - Essay Example

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The current discourse aims to present a reflection of one’s perception after reading two articles: the article entitled “The Whole Earth Show: An Interview with Jean-Hubert Martin” written by Benjamin H.D. Buchloh and “The Whole Earth Show: Part II” by Eleanor…
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September 11, Reflection Paper The current dis aims to present a reflection of one’s perception after reading two articles: the article entitled “The Whole Earth Show: An Interview with Jean-Hubert Martin” written by Benjamin H.D. Buchloh and “The Whole Earth Show: Part II” by Eleanor Heartney. The main points found to be interesting in the first article stemmed from the interviewer’s assertions regarding categorizing participants (artists) who joined the exhibit as either belonging to the centers of art (contemporary culture) or cultural margins (those who do not belong to Western countries, among others); the manner of selecting art works; and whose points of views should be emphasized as focal points for conveying the meaning of these works of art; to name a few. On the other hand, Heartney’s article argued that the works of art selected for the exhibit seemed to exemplify the skills and talents of non-Western artists as bordering between traditional local and Western culture. This has also be the subject of discussion in the interview by Buchloh with Martin (Buchloh).
Upon absorbing the main thrusts of the authors’ contentions, one was able to appreciate viewing the varied works of arts which were included in the exhibit. The diversity within which these art works were chosen reflect the objective of the proponents in showcasing talents of artists from all over the world. It was therefore commendable that through publishing these articles, art enthusiasts who did not have the resources to attend the exhibit at that time, and even in contemporary times, could marvel at diverse art forms in the artists’ personal interpretation of cultural underpinnings.
One could affirm that the selection for the exhibit was indeed representative of different cultures from a global sphere. Much the same assertion noted by Heartney was the revelation that “the most interesting works in the show were produced by non-Western artists conversant with the subtleties of Western art and culture and interested in the interplay between these traditions and their own” (94). One strongly believes that contemporary artists, even from non-Western countries, or those identified to be cultural margins, could have been influenced by Western culture. Specifically, due to the evolving technological and communication applications, at the time that the exhibit was organized, archaic practices, as opposed to ‘primitive’ became a crucial criteria for inclusion. Therefore, emphasizing that viewers would expect diversity and unconventional art forms to be showcased could not be overemphasized. It was therefore a surpise, that Heartney’s closing remarks revealed that “for all its celebration of the exotic and different, it remains oddly familiar, reminding us that to seek in the Other a reflection of our idealized self is never to leave home at all” (96). The statement only confirms that when one is looking at aesthetic and authenticity in art from varied cultural orientations, it could come as a surprise that most of the contemporary art has already been influenced by forms, genres, and styles from previous eras and especially, from Western cultures. This is expected since developed countries have been known to explore the world and leave their marks as colonizers – impacting all relevant sectors of society: from economic, political, cultural, and even the arts. Likewise, a collection of 100 art works could not have comprehensively represented world arts, at its best.
Works Cited
Buchloh, Benjamin H.D. "The Whole Earth Show: An Interview with Jean-Hubert Martin." Art in America May 1989: 150-212. Print.
Heartney, Eleanor. "The Whole Earth Show Part II." Art in America July 1989: 90-97. Print. Read More
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