Art & Otherness:McEvilley, pp. 57-146

  1. On p.60 how the denial of taste = denial of humanness outside of the dominant group.  How does that play out for an exhibit that highlights(is made by/for) a minority?  Is the book merely talking about the dominant group in context of the limited world of the exhibition?  Or does it fail to factor in that a denial of taste/humanness can go both ways?
  2. 2051478302_bc591e3291_zContinuing along with this idea is the section regarding artifacts from the colonial days.  The author asserts that the artifacts were appropriated in the 19th century as proof of white european reach and power around the world.  Into the early 20th century the author says the works were further appropriated to fit in the european modernist movement.  This fits well with the story in the previous chapter of the guy and exhibit from MOMA.  My question is, is there a way for one culture to display another’s culture in such a way that it does not appropriate at it in a crude manner?  In the early 20th century many colonial powers were still in tact and the Civil Rights movement hadn’t taken place yet.  In the decades that followed the 50s/60s was there change in the way the white western world displayed other culture’s art/artifacts?husitc3a9_-_jenskc3bd_kodex
  3. “The uncriticized self-image of Western Christendom has involved the role of conqueror since at least the Crusades.” p.66 I personally object to the idea that Western Christendom is uncriticized.  What at your thoughts on this?
  4. p.118-119 “The useful question now is not who thought of the look, but what did each culture or artist do with the look, how was it used, contextualized, filled with meaning — how it functioned” Is this explanation any different from the appropriation of artifacts/ art that goes on when a culture displays another?
  5. The author toys with the need to ground art in history, but also hypothesized that the linear history of yesteryear has vanished into a period of limbo, where art can be made ahistorically.  Do you think it is necessary for an artist to place their work in a historical frame or does restrict/ place a burden on creativity? (the whole last chapter)

Katelyn Kiner – Hope College – 2017


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