I’ve had a lot of time to think in the past couple months, mostly due to my general unemployed-ness (I’ve been picking up a few odd part times jobs here and there to pay the bills, of course, but I mostly consider myself unemployed).
And one thing, among many, that I can’t help but notice is the apparent continuation of the contemporary trend I wrote my thesis* on: western society’s overwhelming transfiguration of “the other.” Or, in more simple terms, our glorification of, adoption of outward form and appearance of, and transformation and attempt to constructively collaborate with “the other” (aka other ethnicities, other genders, other sexual orientations, and so on and so forth).
This trend first developed in the world of “high art” as a response to the deconstructive-ness of postmodernism. Postmodern artists deconstructed the hierarchical western canon, claiming, for example, “Hey! Black and women artists are just as important as those old white guys!”
But once the canon was turned upside down, artists were left feeling a bit lost. It’s like emerging from a bomb shelter after a nuclear war and realizing that all is chaos. Thus, artists started returning to the basics, the building blocks of how living things interpret and experience their environments.
This caused artists in the 60s and 70s, for example, to start exploring the five senses and performance art; how the audience directly experiences a piece of art.
Some artists have started to glorify and exalt “the other,” effectively starting the transfiguration movement. One more contemporary, popular culture example of this is the 2004 film version of Phantom of the Opera with Gerard Butler as the Phantom.
In the 1909 book, the Phantom is an ugly, terrifying creature. In the 1925 film and the 1976 musical, he is human, but remarkably deformed. In the 2004 film, he is a downright sex object. He is viewed as a valid romantic interest for Christine and we, as the audience, are encouraged to empathize with him.
Other artists glorified the imperfect human body since the western canon had previously only accepted the idealized human body The imperfect human body, here, is considered “the other” simply because it had been previously ignored or sugar-coated in art. This includes artists like Jenny Saville and Kiki Smith (see below images).
Jenny Saville – Hem
oil on canvas – 1998-1999
“Semen” — part of “Untitled”, Kiki Smith, 1987-90.
In the second phase of the transfiguration movement, artists wish to change their own outward form and appearance to adopt the appearance of “the other.” This includes artists like Coco Fusco and Guillermo Gomez-Pena (see below image.)
But this phase also includes more contemporary artists like Iggy Azalea and Lady Gaga when they dress in Middle Eastern and Indian garb (see below images).
Some would argue that the above artists are involved in cultural festishization, but that is a discussion for another time.
In the third phase, artists wish to transform global perspectives and encourage constructive collaboration across cultures. They do this in a variety of ways, some involve the audience in the artwork giving the spectators the chance to become the art-makers (performance art) and some attempt to understand the world from “the other’s” perspective.
Take the picture above, for example, that is a perfect example of the internet’s response to the infamous Shark Week. We are encouraged to place ourselves in the shark’s position, an animal typically feared or “other-ed.” But instead of fearing the shark, we empathize with it.
This phase is also evident in recent Disney movies like Finding Nemo and Shrek. No longer are sharks and orges scary monsters, but relatable protagonists.
This transfiguration movement is not just cultural, either, it has extended into politics and society at large. It is seen in the LGBT movement, the movement to accept those with mental, emotional, and physical disabilities, and, in the popular culture world, the hipster movement; it is now hip to be geek.
I see instances of contemporary transfiguration every day, and every time I see one, I want to scream out “There! Look, people!” Because art is no longer separate from culture. And culture is no longer separate from politics and societal movements.
I now use Tumblr and Facebook as my primary news sources, with a little New York Times and NPR thrown in for fact-checking. I no longer need to subscribe to fashion magazines because it’s all here.
That is what makes the regulation of the internet so troubling for some. How can we control the flow of knowledge and information if everything is available to all? Who can hold power?
That is exactly why I’m excited and scared by the future at the same time.
At this moment, actually, I’m staring at the Tumblr-suggested post to the right of my screen (if I can, I will reblog it once I finish this post, but I can also describe it for you guys just in case).
It’s a drawing of a computer (laptop?) and emerging from the screen, breaking the fourth wall as we call it in theater, are three raised fists. One is white, one is yellow, and one is green. And there are two sets of three “action” lines on either side of the hands. I see these as the hands of people around the world, sharing, learning, collaborating, and exalting through the computer, the internet.
I think I read somewhere that recently some organization gave a bunch of laptops to a poverty-stricken town in a third world country in Africa. They rigged the laptops so that they had limited capabilities for the people in the town, so that the people “would use them for the right reasons.” The people received these laptops, the first computers they’ve seen in their life, and within hours they had hacked into them and deleted all the restrictions the organization had programmed into them.
That is exactly what people in power are afraid of: giving the oppressed, the poor, the uneducated unlimited access to the information of the world.
I realize this post has veered off course, if this were an academic paper I would be agonizing over how the fuck I was going to conclude this in any logical way. But, hey, I just wanted to get my thoughts out of my mind and this is what happened.
Call it art. Call it bullshit. Call it what you will.
Welcome to Claire’s (unemployed) mind.
*thesis can be found at: https://www.academia.edu/1504353/Contemporary_Post-postmodernism_Transfiguring_the_Imperfect_Human_Body