Globalism In Contemporary Art

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Globalism in Contemporary Art reflects the interconnectedness of the evolving modern world, as it causes the expansion of global perception and understanding of various cultures. Conflict also arises from such interconnectedness as varying cultures and ideas flow into the same medium. Such unity on a global scale creates a conglomeration of the Contemporary Art world resulting in an “identity crisis” Characterised the growing diversity of Contemporary Art spectrum as an “anything goes” mindset. Various biennials and renowned art exhibits display the wide range of pieces but due to the subjectivity of those who choose what art is shown an artistic hierarchy is created. Along with diversity comes conflict between institutions as well as growth…show more content…
He was born in London and moved to Lagos, Nigeria at the age of three. He returned to London to study Fine Art where he then received his masters in fine arts, graduating as part of the ‘Young British Artists’ generation. Despite having a physical disability that paralyses one side of his body, he uses assistants to make works under his direction. Over the past decade, he has become well known for his exploration of cultural identity, colonialism and post-colonialism within the contemporary context of globalisation through the medias of painting, sculpture, photography, film and performance. He describes himself as a ‘post-colonial’ hybrid, as he explores ideas of cross-cultural heritage and the creation of a hybrid identity. Influenced both by the aesthetics of Romanticism in Europe and African textiles, the interplay between the two visuals used in his artworks further creates a complex dialogue around the politics of colonialism and…show more content…
The female figure is flanked by two male figures lurking in the shadows, one seems to push her swing from behind, as the other mischievously glances up the layers of her dress to catch a glimpse of what is beneath. Shonibare's mannequins are characteristically presented without their heads, which is a reference to the beheading of the aristocracy during the French Revolution and the redistribution of power and land. He has also noted that the absence of heads in his sculptures removes the direct connotations of race or individual identity. Although the artist’s intention is that the piece should be viewed straight on, like how the is figure seen from the same angle Fragonard depicted it in the painting, because the installation is rendered in three dimensions, the viewers can actually walk around the swinging woman in the gallery space. Therefore, the audience can place themselves in the position of either of the men in the painting. As they can also look up the woman’s skirt like the man at the left side of the
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