Contemporary artists - Essay Example

Contemporary Art Number Department Introduction One of the effects or importance that displacements, migrations and perceived lack or flux of geo-political boundaries have on contemporary artists is the paving of way for cross-border socialization. This international scale of socialization of contemporary artists has enabled the same groups of people to come together, share ideas, interests and fears among themselves. The culmination of this has been the formation of associations for contemporary artists such as the Contemporary Art Society, Contemporary Art Galleries, the International Association of Curators of Contemporary Art, the Contemporary Quilt Art Association, the American Society of Contemporary Artists and the Contemporary Art Pottery Collectors Association. This development has created a lot of opportunities for contemporary artists, and perpetuated the interests of contemporary artists. For instance, these associations have helped sell works of art for contemporary artists, while others such as the Contemporary Art Galleries Association (AGAC) has always promoted the recognition and prosperity of the contemporary art market. Conversely, it is important to appreciate the fact that although displacements, migrations and perceived lack or flux of geo-political boundaries have closely knit contemporary artists from many parts of the world into a global assemblage of persons with common interests, yet the same has led to the strengthening of national cultural heritage, vis-à-vis, the strengthening of contemporary artistes in their given country. This happens as any country or geopolitical entity or body politic become aware of the fact that through globalization, multiculturalism is acting as a force that gnaws away at a people’s socio-cultural values and heritage. It is against this backdrop that states, countries, nation-states or other geopolitical entities have come to craft and ratify policies that are to consolidate or strengthen cultural and social heritage. Chiefly featuring among these policies is the creation of the aforementioned associations which are nevertheless nation or state-specific. The Contemporary Art Society of Victoria Inc. [commonly known as CAS] exists and functions as a non-profiting organization seeks to promote the interests of artists interested in contemporary art works exemplifies government attempts to consolidate contemporary artists within the confines of geopolitical boundaries. CAS is run by artists, for the benefits of Australian artists and art-lovers. CAS promotes contemporary arts, encourages contemporary art, stimulates artists into composing more works of art and fosters understanding of works of art. Situated in Melbourne, Victoria, CAS provides services that are Australia-specific. Some of the shows that CAS has hosted since 2014 began are the Australian National Brooch Show 2014, the A4 Art Australia 2014 and Herring Island Summer Arts Festival 2014. The American Society of Contemporary Artists has also always sought to host contemporary art, increase marketability of the same and increase awareness of contemporary art, as a way of promoting American contemporary artists. The Association for Modern and Contemporary Art of the Arab World, Iran and Turkey has also existed to promote contemporary art and the interests of contemporary artists in a regional block that is the Arab or Islamic world. Thus, the foregoing shows clearly that just as displacements, migrations and perceived lack or flux of geo-political boundaries have brought contemporary artists together into a global fellowship, the same have invoked nationalistic tendencies among nations, states and nation-states to protect and nurture local talent. In another wavelength, it is important to acknowledge the fact that displacements, migrations and perceived lack or flux of geo-political boundaries have brought about multiculturalism and cultural mosaics. Because of this, contemporary artists have had to shift from artwork that captures monolithic cultures. On the contrary, contemporary artists have had to embrace elements that depict a socio-culturally variegated society. This is because migrations and displacements have induced and strengthened the intermingling of social values in geopolitical entities. A Blending of Cultures, the Melting Pot Identity Art Exhibit and Ross Douthat’s The Melting Pot: the Great American Dream are some of the contemporary works of art that have graced museums and continue to communicate some of the realities and complications of multiculturalism. Douthat’s work of art appears in Israel Zangwill’s book cover, The Melting Pot: the Great American Dream. Some of the related works of art have sought to address issues that are related to multiculturalism such as culture clash. An example of this contemporary work of art is Keith Hollingsworth’s 2006 art, Culture Clash. The work of art was made of crayola crayons, beeswax and resin on canvas. The original Culture Clash exists in 72" x 44.5". In light of the foregoing, displacements and migrations have compelled contemporary artists to address matters that impede the realization of a global or American melting pot. For instance, in his painting, Ross Douthat’s latest work of art postulates the existence of two parallel Americas, as a culmination of multiculturalism. Douthat’s column depicts a United States of America that is bifurcated into a constitutional and a cultural one. Douthat’s observation stems from the observation that was made from the proposal on the Cordoba House mosque which was to be built near Ground Zero in Manhattan. While one column of the United States welcomed the proposal, the other vehemently opposed the same. As is captured by Douthat, this development [the portrayal of two parallel American cultures in the US] is important since it elicits the need to engage the entire US into debating pertinent matters such as the tenability of multiculturalism, its gains, drawbacks and implications on a people’s cultural identity. The crux of the matter herein is that multiculturalism was one of the dominant themes of Occupy Wall Street Movement, as the mainstream America felt [and continues to feel] that immigrants were dilapidating the resources in the US, while not being true or faithful to the ideals of America such as commitment to good citizenship, liberty, freedom, personal choice and self determination. Again, displacements and migrations has exposed and introduced contemporary artists to new concepts. Because of globalization, contemporary artists have had to grapple with foreign concepts such as homosexuality and same sex relations, religion, politics, immigration and economic models. While these constructs may be universally distributed, it is a fact that they take different angles in regional blocks, countries or states, or any other body politic. For instance, a scholar or a contemporary artist may not freely advocate for homosexual rights in Islamic states such as Afghanistan, Pakistan or Iran. Nevertheless, as facets of globalization, displacements and migrations have accorded contemporary artists the chance to address these controversial matters. References Ley, D. 2003. “Artists, Aestheticisation and the Field of Gentrification.” Urban Studies, 40 (12), pp. 2527 – 2544. Newman, D. & Paasi, A. 1998. “Fences and neighbors in the postmodern world: boundary narratives in political geography.” Progress in Human Geography, 22 (2), pp. 186-207 Philogene, Jerry. 2004. “Visual Narratives of Cultural Memory and Diasporic Identities: Two Contemporary Haitian American Artists.” Small Axe, 8 (2), pp. 84-99. Philogene, J. 2004. “Visual Narratives of Cultural Memory and Diasporic Identities: Two Contemporary Haitian American Artists.” Small Axe: A Caribbean Journal of Criticism, 16 (16), pp. 84 - 99 Read More