Last Thoughts

My preconceived ideas going into this class about the Art of the Americas, Africa and Oceania were that there might be some surprises, expecting that there could be some of what we consider "Western" art. Instead I was surprised by the types of art that we were introduced to in terms of bark paintings and a plethora of masks. This opened up my preconceived notions to understand that the art was not what I anticipated. It also made me begin to comprehend that the art and its functionality makes it have an entire different type of power than what we understand and expect.
In the second half of our semester, we have focused more on art that is architecture. This is almost the epitome of functional art. Architecture is something I don't tend to conceive of as art, so looking at it with fresh eyes has changed things yet again for me.
This is what I think I have benefited most from out of this course, in opening up my way of perceiving things I am able to apply that change in perception, or opening of perception to other things in my life. When I do that, I am able to be a more balanced person, more well rounded in not just an artistic recognition way, but in a wide range of ways that can benefit my family, my person, my education, my work and volunteer world as well.

Time Travel

If I were able to visit any Mesoamerican architectural site, I would have to choose Chichen Itza. This was one I thought I would want to visit before reading more in depth about it this week, but upon learning more about it, I found it even more interesting. The most interesting aspects I found this week are that it seems that Nahua-speaking Toltecs were living in Chichen Itza and thus are responsible for some of the architectural similarties that are found between Tula and Chichen Itza. This way, I feel like traveling in time back to Chichen Itza would allow me to experience not only some of the influences involved in the creation of the majesty of Chichen Itza itself, but also some of the wisdom behind the creation of Tula as well from the Toltecs that were influential in creating Tula that seem to have resided in Chichen Itza. The similarities in the architecture are so distinct that these parallels are able to be drawn, which in and of itself seems fascinating to me.
I've always been interested in the beauty of the Castillo, pictured below.

Two Views of Meso-American Architecture

For this week we are to compare and contrast two separate groups of architecture, one from early Mexico versus one from the Classic Mayan stage.

First I'd like to focus on the grouping of buildings shown below from Mitla in early Mexico.

This photo shows the grouping of the buildings in Mitla, depicting how a couple areas including the ones listed as Grupo Adobe and Grupo de las Columnas have corners that do not meet up, while the other groupings of structures shown have corners that do meet up creating closed structures. Ritual manuscript scenes are painted on the interiors of several of the buildings in the Mitla groupings, as a typical style of decoration for the early Mexican art within the architecture.

Second, I'd like to focus on the photo below as an example of Mayan architecture from the Uxmal area.

In the photo above, you the layout of the structures found at Uxmal in a Classic Mayan fashion, though this grouping has some stylings that are slightly less "classic" in design and function, according to our Kubler text. Note, there is the same parallel of groupings where some have closed corners and a few do not, including the North group shown to the far right of the photo above. Both the Uxmal and the Mitla groupings have negative batters, meaning their facade walls lean outwards, which is a bit of an anomaly in terms of likelihood between the two different sets of historical architecture.

Mixtec Art Reblog of deYoung Blog

http://deyoung.famsf.org/blog/framework-ceremonial-knife-mexico

The above piece is displayed in a blog post about deYoung Museum (San Francisco) and its permanent collection. This is a Mixtec work that they have in their collection displaying some amazing work with the tiling or placement of the "tesserae" pieces to create the lines that indicate the birds head and eye shapes on the handle of the decorative blade.
This work seemed to mimic others we've seen in recent studies not only in the concept of using smaller pieces to create one larger overall image, but in simplicity of the mosaic concept, using small pieces to make any sort of look, whether that is one that is abstract, animal like this one or otherwise. Mixing that level of intricate artwork with such funtionality like in this blade is another hallmark we have seen like in the decorated vessels, etc. These functional items do not require any sort of decoration, they simply could be left as is to do their job, but instead they were made to have a beauty and an intrinsic value while they performed their function as well.

Midway Reflections

Midway through our course exploring the artwork of Africa, the Oceania and the Americas my main considerations are largely the same as they were at the beginning of the course, though the biggest shock to me is the way the art reverberates throughout the entire communities they represent. This was made most clear to me in observing the videos of the Zuni dances and the other Native American art work examples, though this reflection became clear that it applied to all the various types of art work that we have studied thus far. These communities have woven the artwork into their lives and it is an intrinsic part of who they are as a people. I don't know that there are many types of art work we have in this day and age that would compare, though there could be some arguments for digital arts, etc.

As for the other elements of the course, it is very eye opening and interesting to watch the concepts others argue when we are asked to take a stance on a topic. I find the other arguments well made, and they help me see other view points and at times will help change my mind, this is one reason why I really enjoy the online learning environment. I've found online that most students are very respectful of other's opinions and also work very hard to clearly express their own opinions and stances. In doing so, they make their arguments clearly and respectfully, which I greatly appreciate.

As for the most interesting areas we have studied - I greatly enjoyed the concept that there were so many different groups in such relatively close quarters in Africa - especially according to the maps that were shown in the text. It is fascinating to see how different the communities can be even though they were quite close physically. I am also always very interested to see things that are distinctly Native American, as it is "closer to home". It is fascinating to see how things were such a relatively short time ago (in relation to some other subjects - I am currently also studying Earth Sciences that talks in terms of billions of years, instead of hundreds like our Native American history does).

Blog Repost: 9 Perfect Parks for Exploring Native American History and Art

At PocketRangerBlog.com there is a great post that features nine different parks around the United States where you can view different types of Native American art that represents not only various types of artwork, but also represents the history of different communities, areas and facets of life they experienced. I love how the title of the blog post about "Perfect Parks for Exploring Native American History" doesn't even focus on the art aspect, but points out the primarily historical aspect of this type of artwork.

This is an important focus that people sometimes make, they will see the history, or the art, but not both. This is like when I spent some time living in the desert. I saw the desert, the dry and desolate, but not the beauty. There is a beauty, and artistry inherent in the history that is told through these things shown in these parks shown in this PocketRangerBlog post, just like there is an inherent beauty that I eventually came to realize and appreciate from living in the desert. Just because it isn't the first thing you see, doesn't mean it is less important or valuable from a societal standpoint.

The image below is from Seminole Canyon State Park, one of the nine listed among the Perfect Parks for Exploring Native American History on the PocketRangerBlog entry. This park is located in Val Verde County, Texas and is courtesy of www.legendsofamerica.com

From Bush Grass to Open Waves: Images of Oceania

This week we are comparing two different types of art work, one from the area of Australia and one from the Island lands of Melanesia or Polynesia. First, I’d like to focus on this piece from 1880, created by William Barak called “Corroboree”. Barak was a man who became a spokesperson on Aboriginal affairs in Victoria, according to the Queensland Art Gallery, Gallery of Modern Art. He worked often within the mediums of ochre and charcoal. Within this piece notice that while he depicts things like boomerangs that are curved in nature with curved lines as he would have to in order to depict them naturally, he then takes the liberty of depicting the legs of the men in the top row and distinct right angles. These right angles and very straight lines are rather unnatural and somewhat indicative of the influence of nature surrounding them and influencing them. Also notice the heavy influence of the many straight lines used inside each form for the purpose of detail. Even if a form’s main shaped is curved, like the snakes are, they are bisected many times by straight lines. This is one distinct way how their landscape and the straightness of what they saw around them every day in the form of grasses, etc. influenced their work.

These statues of Polynesian idols from the Puuhonua o Honauau National Historical Park in Hawaii are a great example of the rounded lines prevalent in Polynesian art forms. These rounded lines are a reflection of the nature seen around the island lands of Melanesian and Polynesia. These rounded lines are an example of the waves seen in the ocean, and the rounded lines you might see in many sea creatures you might find that these communities of people would use for food or materials for living. 

Australian Art Re-Blog - Queensland Gallery of Modern Art Blog

The Queensland Australia Gallery of Modern Art is hosting an exhibit titled "My Country, I Still Call Australia Home: Contemporary Art from Black Australia" until October 7, 2013. This post can be found here http://www.qagoma.qld.gov.au/exhibitions/current/my_country and features art like this piece 
Birmuyingathi Maali Netta Loogatha, Kaiadilt people, Australia b. 1942 | Sally Gabori, Kaiadilt people, Australia, b c.1924 | Warthadangathi Bijarrba Ethel Thomas, Kaiadilt people, Australia b. 1946 | Thunduyingathi Bijarrb May Moodoonuthi, Kaiadilt people, Australia 1929 - 2008 | Kuruwarriyingathi Bijarrb Paula Paul, Kaiadilt people, Australia, b c.1937 | Wirrngajingathi Bijarrb Dawn Naranatjil, Kaiadilt people, Australia, 1935 - 2009 | Rayarriwarrtharrbayingat Amy Loogatha, Kaiadilt people, Australia, b. 1942 | Makarrki - King Alfred's Country 2008 | Synthetic polymer paint on linen | Purchased 2009 with funds from Professor John Hay, AC, and Mrs Barbara Hay through the Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

This exhibit is located in Brisbane and piqued my interest particularly because of how we are concentrating on more historical works at times, or works that are not considered tied specifically to one intrinsic time period. This entire exhibit centers around the focus of the contemporary art from some of the other areas we may be studying and bringing the focus back onto it.

The concept I found inherently interesting here is that everything that is old becomes new again, or becomes studied again, or becomes worthy of note again. In the case of artwork, that is certainly true.

Three Faces of African Art

The theme of masking is prevalent in all of the areas of Africa we have studied thus far. These masks cover a wide range of uses and styles, making the art form one that is remarkably versatile but still one that translates across many cultural boundaries.

The first mask I’d like to focus on is the wooden helmet masks used by the Senufo people of the Ivory Coast region of Africa. These masks are actually more helmet like in function and have a large rectangular cut out n the center where the wearers face can poke through. On top, there are representations of either a male or a female with “concentric ringlike upper torsos without arms” and pointy hairstyles that resemble rooster’s red combs. These masks are used specifically for killing witches and are thus loosely tied to divination.

Second is the naturalistic work of the Ife in Nigeria. They have a particularly well defined realism to their naturalistic works in this community, and even drill holes in areas around their terra-cotta and brass castings so facial hair can be attached to make the art appear more realistic. This shows their true dedication to getting their subjects represented faithfully. These are usually tied to kingship or family.

Finally, the Kuba people of Zaire have some beautiful examples of the more eccentric and dramatic grotesque masks in their artistic repertoire. Their mask representing the sprit Bwoom is covered with many textures with cowries shells, beads and many different carving patterns as well as a protruding forehead representing a hydrocephalous bulge possibly. Though this mask is more bright and flashy, it still has many realistic elements, too. These masks were tied to kingship in particular. 

These three masks show that while they all represent wholly different things to significantly different cultures, they still have something distinctly similar at their core. This is the beauty of art, especially in these types of functional forms. 

LACMAs Collection of African Arts from the Luba Kingdom - reblog

The Luba Kingdom of Central Africa is highlighted by a collection of art shown by the Los Angeles County Museum of Art.



The above Luba sculpture is a stool that royalty used according to the LACMA blog posting (link below), similar to some we have studied in other African communities in class.
http://lacma.wordpress.com/2013/07/03/a-home-for-african-art/

The similarities were very interesting because they were different groups than ones we have studied, but the art work, the premise of the stool being primarily for those of high social standing, and the workmanship still had strong ties.

While some of the various communities we have studied have had similarities, they have been more general in terms of types of work, or animals they have honored or had distinct ties to. This similarity to stools used by the Asante of Ghana was so striking to me that it was definitely noteworthy.

Other works shown by the Luba include masks that were rather anthropomorphic in nature that had holes along the chin to allow for raffia to be attached like masks from a variety of other groups.

Art of Africa, Oceania and the Americas - Initial Impressions

When you broach the topic of art, then open up the field of study to include geographic areas of Africa, Oceania and the Americas I almost feel like I don't know where to start. There are so many different variations of art to consider, view and appreciate. Each different type will have its own set of meanings and interpretations that represent a different set of values or mores.

Initially, I liked this aspect of the course overall because as someone who doesn't have much experience studying art I would like to cover more types and fields than typical. I'd also like to view and address some types of art that are less typical. As I mentioned in one of my previous message board posts, my sister and her husband got traditional Fijian tattoos on their honeymoon there - this was done respecting it as the artform it is. It was, oddly enough, my sister's very first tattoo as well. The tapping technique was fascinating to see (we viewed a video afterward) performed, and was very different from what we are familiar with in terms of the usual buzzing of a tattoo gun.

Within the initial framework of the course, I enjoy the use of voicethread because the interaction is easy to follow. It is also nice to be able to see extra examples of the art work in question.

I'll wrap up this initial impressions post with a photo of me about 16 months ago, at the National Gallery in Oslo. Who doesn't love, "The Scream"? Or "The Skrik" in Norwegian ;)