Introduction
The main topic to be discussed in this synthesis paper will be the Historical, Social, Economic and Political Implications of Art. Through the various given readings, specifically 5 readings related to the topic, the determining of main arguments in each reading by carefully deconstructing the readings and gathering salient information on it. The order of each reading to be discussed will be as follows: Art History and the Global Challenge: A Critical Perspective, Infrastructure of Colonial Modernity, Itinerant Figures, “Total Community Response”: Performing the Avant-garde as a Democratic Gesture in Manila, and Michael Duchamp: “Twisting Memory for the Fun of it” or a Form of Retroactive Interference? – Recalling the Impacts of Leaving Home on the Readymade.
Thesis statement
The thesis statement of this synthesis paper will be focusing on mainly gathering information on implications of art in various categories. Through various arguments gathered in the given articles, the synthesizing of salient information will be done. Through thorough deconstruction of articles, gathered information should be listed as it to not confuse readers.
Examples
Art History and the Global Challenge: A Critical Perspective
Flores (2017) stated that “the challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians.” Through the reading we learned that there is a field of global art history, but as it were in case we re conceptualize the idea of the worldwide and recalibrate the registers of the teaching of art history. Also the work of Hans Belting in terms of writing craftsmanship history, curating contemporary exhibitions, and creating joins over continents has been pivotal. The importance of the Internet has also been mentioned as it can help the facilitation of dissemination of knowledge across the world. A different subject is also formed, although how this subject mediates universities is contingent on the subjectivity. There ought to be more collaborations between colleagues and disciplines to create a more peculiar story of sensible life and not as it were craftsmanship as we know it. An unused hypothetical vernacular ought to too develop, one that's sharpened within the post-colonial pot, taking freedoms with English and at the same time gambling the untranslatability of certain vocabularies. All these information gathered through the reading can be synthesized that Art History in its entirety is in a difficult spot as we speak, this can be the result of various factors but it doesn’t mean that this can be the end for the field, the answers given by interviewees gives hope that one day the widening ranges of critical perspectives on art history can be a factor that can help the field in not only widening its range to a certain place, but globally instead.
Infrastructures of Colonial Modernity: Public Works in Manila in the late 19th and 20th Century
The article mainly focused on 3 main points or 3 main areas, Colonial Infrastructure and Industrialization under Spain, Building the Infrastructure for American Imperial City in the Tropics and Materials of Colonial Modernity. Tomacruz, (n.d) stated the advent of colonial industrialization in the Philippines can be traced back in 1834 with the abolition of Compaña de Filipinas. The opening of the Philippines to worldwide exchange come about in an incredible request for its agrarian items and handled commodities within the world advertise, requiring the utilization of machineries for massive export production. The Spanish era marked the start of the modern architecture that the Philippines will be using until now. After the Spanish colonization, it was the American’s turn to occupy Manila, during America’s reign, Manila as an unused American colonial city experienced an enormous change to rebuild its urban built environment as a model colonial station. All public works were placed under the country’s engineers. The Philippines then in turn, deployed resources as well to help the city improve. We can say during the American reign, they changed the way architecture works in the Philippines during the 20th century and technology played a huge role in changing the way architecture works, not only in the Philippines but in the rest of the world.
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Itinerant Figures: Textual Mobilities in Fiction’s Diasporic Turn
Reyes, M. (2017) stated that diasporas are energetic and unstable in today’s globalizing substances and imaginaries since the sense of put and area by which diasporic encounters are caught on has ended up liquid, equivocal, indeed challenged, and now not a settled and inactive space. Various titles following this definition soon followed, it was given more emphasis when the article mentioned different literatures pertaining to the diaspora’s. The implications that is given in this article is the fracturing at the very site of identification in the postcolonial self.
Total Community Response: Performing the Avant-garde as a Democratic Gesture in Manila
Flores, P (2017), “Greatness” alludes to physical ability and intellectual intuition, a transformative capacity to turn condition into potential. To conceive of something as incredible is to contribute it with the otherworldly and, within the same vein, to create it talk to the common, to the mass of individuals who must make it genuine with daringness. Though this seems to be the starting definition in the article, we learn that this can come with heavy implications as this was during the Marcos regime, we all know what happened during the Marcos regime as it silenced media to one specific location and the country was considered as a democratic country, this comes with heavy implication with the works of art as it can lead to the limiting of themes or it limits the endless possibilities that man can create during that time, when one criteria is not followed, it can be automatically disproven in a snap. This is a heavy implication in art during that time because an artist cannot express his creativity fully.
Twisting Memory for the Fun of it
Duchamp was one of the most famous artists in the 20th century, amid this period, he gave numerous interviews in which he frequently took a capricious stance, of the many topics that he used for his interviews, one stood out to many, Duchamp, M (2011) stated his comments concerning the beginning of readymade works of art— mass-produced regular objects that he to begin with chosen in 1913-1914 in Paris, and after that after taking off in 1915 to Unused York he found other illustrations. When leaving home, a person works through an acculturation handle amid which they are never genuinely settled. This article considers the destiny of fabric objects in connection to the veracity of Duchamp’s memory 50 a long time after the truth within the 1960s, a time when the craftsman was too the forebear of a postmodern position. With the given works in the article, Duchamp came up with conclusions that relates to the formation of a new expression. Almost all of the readymades that he has done was indifferent to such linguistics slippages because he was still at home. In the end of the article, he sent a letter to Katherine Dreier, saying “It is a curious thing (again): why I could be so energetic in America and the minute I land in Europe my muscles refuse to function.' This can be an implication of art as it can affect the whole artist’s motivation to do work, a certain work is an artists’ crème de la crème, If a certain factor affects your position to do your craft, only the artist can change that given factor, may it be a place or an object.
Conclusion
These 5 articles highlighted the implications of art and what it can do if an artist is exposed to it, in the end, only the artists can make such changes to suit them and though sometimes, they do not require these changes in order to work, one must consider the endless possibilities of art when these factors do not hinder an artist. The endless possibilities we can achieve through elimination of implications can pave the way for new discoveries and even new artists that are not known, only time will tell on how man will address these implications and what can be the end result for art, one thing we can say with the utmost certainty is that the field of art is only at its beginning, there will be more discoveries and more implications that will come, but man will find a way to pave the way for future generations to come.
References
- Flores, P. D. (2017). “Total Community Response”: Performing the Avant-garde as a Democratic Gesture in Manila. Southeast of Now, 13-38.
- Flores, P. D. (2017). Art History and the Global Challenge: A Critical. Artl@s Bulletin , 33-34.
- Gerard, L., & Tomacruz, M. D. (n.d). Infrastructures of Colonial Modernity: Public Works in Manila from the late 19th to the early 20th century. JOURNAL OF ARCHITECTURE AND ALLIED ARTS IN THE PHILIPPINES, 1-25.
- Moore, M. (2011). Marcel Duchamp: “Twisting Memory for the Fun of It” or a Form of Retroactive Interference?—Recalling the Impacts of Leaving Home on the Readymade. The Memory Waka, 393-403.
- Reyes, M. L. (2017). Itinerant Figures: Textual Mobilities in Fiction's Diasporic Turn. Kritika Kultura 28, 190-197.
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