Art 21: Past and Present

Within the readings and video segments centered on the well-known artists Shahzia Sikander, Barry McGee, Ann Hamilton, and Kara Walker, each individual seemed to speak greatly about the world around them. Creating statements through their art, these different artists each speak in an original and groundbreaking manner. Each creator uses their own perspective of the world and creates pieces that speak of the environment and cultures around them as well as their experiences with the things. With each reading and video centered on the individual artists the viewer is able to gain a general understanding about the artists’ processes, messages and perspectives. The viewer is also handed an opportunity to her each artist speak on their inspiration, which then aids in the realization of the artist’s evolution and content.
Ann Hamilton is an artist that creates many different types of pieces, from ideas founded in media presentation to more instillation-type artworks. Hamilton seems to stand out in a world of many creative minds because of her distinct ideas of line and the ingenuity that can be seen in her use of certain materials. In one piece that is highlighted in the video segment, Ann uses her mouth as a pinhole camera to create a new take on the relationship to the photographed object, as well as the artist placing one’s self into a situation of vulnerability. Hamilton is shown creating an instillation piece entitled “Tropos” that focuses on the movement of line and transforming it into a sort of epic journey. Through such pieces it seems that this artist was not only influenced by line, but also by the idea of capturing a moment much like that of the impressionist mindset. Striving to show the evolution of line over time and the perspective of a person, or camera, Hamilton creates a new way of capturing a moment of time that shows her own personal ideas as well as partakes in the experience of the viewer which is a more post-modernist stand point.
Creating dramatic silhouettes the fill up walls, rooms, and even animated media pieces Kara Walker finds a seemingly simple way to express her view of the world as well as her creativity. Through the video segment Walker is seen as a strong woman who channels the struggle of African Americans through out history in order to create pieces that use a simplistic presentation and somewhat devious imagery. Within the silhouettes that seem to depict stereotypical images of slavery in America and era surrounding it, Kara twists the description of figures into images that may seem simplistic and creates a more interesting and thought provoking experience. With figures that evolve into grotesque and sexual images, the interaction with Walker’s pieces creates a strong message on the views that address identity, racism and sexuality. With this transformation of representation, as well as breaking down walls of subtly, this work stands strongly in the ideals of Walker’s historical perspective and the post-modernist mindset. Walker’s art becomes about experiencing these tainted compositions as well as discovering that everything may not be what it seems. While maintaining this interaction the pieces also address issues such as race and sexuality, which both remain very current and controversial, in a fairly novel method.
Shahzia Sikander is an artist that devotes her time to creation that is bound to the very traditional form of Western art of the page. Creating pieces that mostly focus on the idea of small but elaborately detailed paintings, Sikander is another artist who comments on her cultural background as well as her personal history. In one segment from the videos Sikander speaks greatly on the idea of transforming words into movement and figurative formations that create an image rather than a legible text. This idea strides away from that of those of what may be traditional in Pakistani and Western art of the page, but still shows us the inspiration that has be taken from this area. Sikander can be seen very obviously as a Post-Modernist in the way she relates to the transformation of traditional representations, like in her manipulation of words, while also becoming very relevant to carrying on a culturally traditional art form and adapting it for a different time period. This is a mindset that could also be linked to that of the Dada movement in its approach to poetry. At this period of time and in this mindset the meaning of words were being stripped away so that the viewer was forced to experience more of the words’ aesthetic qualities rather than the meanings that have been inflicted on them by scholars throughout history.
The last artist is one that throws his attention to the streets and the ideas and philosophies that take refuge there. Barry McGee is an artist that focuses greatly on graffiti styles and transforms these methods to fit into the space in which he is working. Although Barry states a sense of uncomfortably with the idea of galleries when compared to placing his work out in the streets of the public, he successfully carries the ideas of graffiti art over into a space that might not be seen as the conventional form for the particular subject matter. When placed in a show with the artist known as SWOON, the gallery is transformed into an environment where the viewers can experience and in some ways interact with the art work. The art takes a turn from being confronted in a wide open space to one that is almost thought of as intimidating when spoken on by SWOON. The characteristics of McGee’s work bring the idea of the low-brow artist off the streets and into a venue that is perceived by many as a far more respectable one. This distinction and struggle between the two environments becomes and large commentary in the work of Barry McGee and SWOON. It becomes a commentary on how art is broken down into categories which then influence the level of respect it should typically receive. With ideals and inspiration taken from graffiti of the 1970’s both artists, much like those that were discussed above, transform their chosen medium in a way that allows them to comment on the issues of today’s current societal state as well as personal artistic viewpoints.