Global Art 12/5/22

Art becomes a global conversation by the 1950s

Shonibare: Political stakes of history in contemporary art

Born in London 1962 to Nigerian parents before moving to Lagos at 2

Double Dutch
Previous works were in response to Perestroika, how is that related to his life
Goes to Brixton market in search of the Nigerian identity in London. Inspired by Dutch wax
fabrics
Made by dutch inspired by indonesian prints produced in Western Africa

Invoking the concept of Primitivism and “uncivilized” people existing outside of time
Pointing out the flaws of using concepts of traditional crafts as the perfect antidote to modernity

The Grid also undermines the concepts of art existing outside of style and aesthetic

Cindy Sherman, 1979-80 known for her filmstyles evoking 60s cinema of the style and type of
the femme fatale
How our ideas of our identity is based on the experiences that we build ourselves up
upon

Rosemarie Trockel, Untitled, 1985-88 knitted wool, () logo and playboy bunny showing the
expectation of being a “pure” housewife and sexual object and that made by computer and
machine → not the traditional role of woman
Together CS and RT emphasize the idea that we are given roles that we are expected to
fill and work with, rather than anything centrally created

Yinka Sb:
Mr and Mrs Andrews without Their Head
Based on MaMA British colonial painting of the marriage of two people and the
combination of their estates in what he calls it “reverse fetishism”

Arguable a movement of alienation with these figures

Using readymade forms and tropes
Not unearthing hidden art as AfriCOBRA in 68 Chicago, or the BLK art Group in 1980s
Britain
Gallantry and Criminal Conversation, 2002
Extraordinary explicit sexuality of the
Referencing the Grand tour of 17th and 18th British men toured Western Europe
(outside of your normal morality, seen as a source of the idea of sex tourism)
Figures very overtly sexualized despite (because of) the figures being fully clothed
 Reproducing a system of power
Engagement with modernism and its connection to sexualized ().

Making this work at Documenta see this work in 2002 as a critic as the concept of the
Biennial
Has a depiction of the Scramble for Africa
Nelson’s Ship in a Bottle “winning the ability” to colonize much of the planet