Upload
others
View
8
Download
0
Embed Size (px)
Citation preview
Breaking Naming: The Multi-Valency of Being Human
Stefan Prakash Eicher
Submitted to the faculty of the Herron School of Art and Design in partial fulfillment of the requirements for the degree
Master of Fine Arts in Visual Art in the Herron School of Art and Design
Indiana University
May 2017
1
Introduction
InhisbookIdentityandViolencetheNobel-prizewinningIndianeconomist
AmartyaSenarguesthatconflictandviolencearesustainedbythe“illusionofa
uniqueidentity”1.Theactof‘naming,’placingpeopleintocategoriesof‘theother’
basedonasingledifferenceinsocio-economic,ethnic,racial,orreligiousidentity
createsadistancethatpredilectsviolence,whetherphysical,psychological,or
systemicinnature.Yetinrealityhumanbeingsexistwithinapluralityofidentity
andthecommondenominatorofhumandignity.
Despitethelinksbetween‘naming’andviolence,theactof‘naming’isan
extensionofthehumandriveformeaning,makingsenseoftheuniverseamong
otherthingsthroughlanguage,culture,andart.Yetart,whenit‘works,’worksbest
becauseofitsveryabilitytobreak‘naming,’disablingthemasteryoflanguageand
thecertaintyofopticalassumptionsbroughttoaworkbytheviewer.Artcreates
theopportunityforthegenerationofnewmeaning,tobothseetheworlddifferently
andenvisionadifferentworld.
ThesisStatement
Myworkseekstobreakthe‘violenceofnaming’—theconsequencesof
categorizingpeopleaccordingtosingleorsimplisticidentities—bybreakingthe
‘namingofviolence’—transformingdepictionsofviolencebyunderminingthe
abilitytofitthemeasilyintopre-existingvisualcategories.Throughthecreationof
dislocatingjuxtapositions,visuallayering,andthedeploymentofsurrealismmy
1AmartyaSen,IdentityandViolence:TheIllusionofDestiny.(NewYork:W.W.Norton&Co.,2006),16.
2
workchangesthesubstanceandmeaningofoppositionalrelationshipsandobjects
ofviolence,andintheprocessexploresthemulti-valencyofhumanidentityand
connectionsbetweenpeople.Atasecondarylevel,withinthecontextofwar,and
specificallyWesterninterventionsintheMiddle-EastandCentralAsia,myworkis
alsoacritiqueofimperialismandpower.
ThesisExhibitionandThesisPaperObjectives
“BreakingNaming:TheMulti-ValencyofBeingHuman”isaninstallationof
threelarge-scalepaintingsandtwosmallersculpturalinstallationswhich
collectivelyserveasmyThesisExhibition.
InthecourseofthisthesispaperIwillexploremystrategiesfor‘breaking
naming’byusingspecificdescriptionsoftheworksaslaunchingpointsforformal,
thematic,andconceptualdiscussionsoftheworks.IntheprocessIwillalsodrawon
examplesfrommyresearchandwillfinallyclosewithanexplorationofthe
theoreticalandmetaphysicalframeworkforthepieces.Iwillbeginthoughwithtwo
briefdiscussionsonthenatureofhumanidentityandtheconceptofnaming.
TheViolenceofNaming,PluralIdentity,andHumanConnection
FormuchofmylifeIhavestruggledwiththeviolenceof‘naming,’being
placedtooquicklyintosingularandsimplisticcategories.GrowingupinIndiawith
EuropeanheritageIlooklikea‘foreigner,’andamtreatedassuch,yetidentifyasa
‘local’andbecauseofIndianbirthandcitizenshipexpecttherighttobelong.Based
onmyethnicityIamviewedasthe‘other’whenIdon’tnecessarilyfitthatcategory,
inhabitinganidentitythatisneitherthisnorthatbutboth.
3
Namingandcategorizationareenlistedtoexcludeandexertcontrolacross
gender,racial,ethnic,religious,andpoliticallines.Conflictsacrosstheglobe,
whetherfueledbytribaldifferencesinAfrica,ethnichistoriesintheBalkans,
religiousidentitiesinSouthAsia,orimperialismpastandpresent,arefannedinto
flamebyreducinghumanbeingsandcomplexsocio-culturalrealitiesinto
caricaturesofthe‘other.’AmartyaSencallsthisthe“miniaturization”ofhuman
beings:“Oursharedhumanitygetssavagelychallengedwhenourdifferencesare
narrowedintoonedevisedsystemofuniquelypowerfulcategorization.”2Attempts
ateithercelebratingordown-playingdifferences,whethermulticulturalismor
sincereattemptsatinterfaithecumenicalism,makeasimilarmistakeofreducing
identitiestosingularcategories.
Thetruthisthathumanbeingsexistwithinapluralityofidentity.The
TalibansoldierinAfghanistanismorethanan‘enemy’ora‘radicalMuslim.’Among
manythingsheisalsoafarmer,poet,father,orphan,student,friend,citizen,speaker
ofPashto,andamanstrugglingtomakeendsmeet.Forme,thejuxtapositionof
beingboth‘local’and‘foreign’hascreatednewmeaning,amulti-valentidentitythat
synthesizesbothcategoriesandpointsmetothecommondenominatorofshared
humandignity.
NamingandtheBreakingofNaming
Namingrunsdeepinourbones.Itspringsfromtheinstinctandcapacityto
makesenseofrealityandproducemeaning,theprocessofunderstandingathingby
placingitwithinacategory.Itisaprofoundlyhumanact.Naminggenerates
2ibid.,15
4
language,thebuildingblocksofculture,andliesatthecornerstoneofscience,
producingknowledgeandbestowingmastery.Yetmasteryisatwo-edgedsword,
bothempoweringanddestroying.Givenourfiniteplacewithinthecosmos,naming
holdsoutthepromiseofcontrol,autonomy,divinity,andyetpivotsasatoolof
oppression,andultimatelyofourownundoing.Frenchphilosopherandsocial
theoristMichelFoucaultwarnedofknowledgeaspower,boththatitgenerates
power,butalsotheinverse—thatknowledgeiscreatedbypower—masteryatits
hubricworst3.Thereisgreatironyinthedualnatureofknowledge,initsabilityto
bothilluminateandblind.Namesbecomeourmarkersofcertainty,andgiventhe
limitationsofhumanknowledgeandexperience,certaintyisadangerousthing.
Theactofart-making,aswideasthatcategoryis,couldinsomewaysbe
understoodasatypeofnaming,e.g.amanipulationofformthatproducesmeaning.
Whatgivesapaintingofasunsetitssignificanceisthefactthatitisnotthesunset
itself,butahumanbeing’sinterpretation,inasensetheir‘naming’oftherealthing.
BelgiansurrealistRenéMagritte’spaintingTheTreacheryofImagesfeaturesa
paintingofapipewithaninscriptionthattranslates:“Thisisnotapipe.”Inone
simplestatementMagritte’simagecanbeunderstoodtosumupboththelimitsand
thepossibilitiesofart.Whileacommentonthelimitsofrepresentation,thegap
between‘language’and‘thing’impliesthatartmatterspreciselybecauseitisnotthe
thingitself.Thisgap,despiteitsconsequent‘treachery’andcontestationof
meaning,pointstotheuniqueabilityoflanguageandarttocreatethingsthatexist
3MichelFoucault,Power/KnowledgeSelectedInterviewsandotherwritings1972-1977,ed.ColinGordon(NewYork:PantheonBooks,1980),93.
5
purelyintherealmofthesymbolic,generatingthe‘symbolicculture’uniqueinthe
naturalworldtohumanbeings4.
Andyetartisalsoaboutbreakingnaming.Artthat“works,”worksbecauseit
succeedsinbreakingthecategoriesofcertaintyinherentinnaming,disablingthe
masteriesofknowledge,language,cerebrationandtheopticalassumptionsthe
viewerbringswiththemtoawork.Itisintherealmofexperiencethatartisableto
by-passandsubverttherealmofknowledge.Phenomenology,aphilosophical
methodofinquirysometimesreferredtoasthe‘scienceofexperience,’pointstothe
extenttowhichourperceptionofrealityisshapedbyourlivedexperiencesinan
interconnectedworld—ratherthanmerelyonpre-conceiveddidacticCartesian
‘facts’5.Themorethosepre-conceived‘facts’canbesuspended,themoreour
understandingofrealitycanacquireneweranddeepermeaningthroughan
experiencethatinvolvesnotjustsensoryperceptionbutemotion,volition,and
action6.Thephenomenologicalepistemologyofartcreatesjustsuchapossibility.
Artiseffectivewhenitbecomesaffective.Goodart,artthathastheabilitytoaffect
anotherhumanbeing,breaksthemarkersofcertaintyandopensusuptoalarger,
deeperexperienceoftruth.
ChoosingWarasaNarrativeContext
Thethreelarge-scalepaintingsandtwosmallersculpturalinstallations
whichmakeupmyThesisExhibitioneachmakereferencetowar.Asachild
4“SymbolicCulture,”Wikipedia,accessedMarch24,2017,https://en.wikipedia.org/wiki/Symbolic_culture5“Phenomenology,”Wikipedia,accessedApril7,2017.https://en.wikipedia.org/wiki/Phenomenology_(philosophy)6“Phenomenology,”TheBasicsofPhilosophy,accessedApril7,2017,http://www.philosophybasics.com/branch_phenomenology.html
6
growingupinIndia,thefewmoviesmyfathertookmetowatchwerewarmovies
because,asheexplainedittome,“thesemovieshelpuslearnaboutreality.”Ihave
chosentosetmyThesisExhibitioninthecontextofwar,specificallythemodern-day
conflictsinAfghanistanandSyria,becauseofwhattheyteachme.Formethesetting
ofwarprovidesanopportunitytotracephysicalviolencetothepsychologicaland
systemicviolenceof‘naming.’Thesettingalsothrowsupasurrealisminherentin
thejuxtapositionsofviolenceandhumanity.ButitconnectstootherassociationsI
have:Mymother’sstoriesgrowingupinWWIIGermany,anearlyschool-boy
fascinationforWWIImemorabilia,andhearingfriendsattheinternationalboarding
schoolIattendedinNorthIndiafearfortheirfathers’safetyasaidworkersin
neighboringAfghanistan.Afewyearsagotwoofthosefathersendedupbeingkilled
byrogueTaliban,justafewmonthsbeforemywifeandIwerehopingtovisitoneof
them.AsaresultofthesecollectiveexperiencesIfindmyresponsetoviolence
teeteringonanedgebetweenfascinationandabhorrence,aresponsethatreflectsa
dualityinbothnamingandhumannature.
BreakingNamingthroughJuxtaposition
ThecentralpieceinmyThesisExhibition,TheOppositeofFear,isanoiland
acrylicpaintingmeasuring60”x84”whichdepictsthemomentofsonic
compressionwhenamortarisfiredbyUSmilitarypersonnelinAfghanistan.Three
Americansoldiershunchoverinphysicalrecoil,theirheadsturneddownwardsand
awaybytheforceoftheexplosion,whileaTalibanmilitantstandsamongthem
drinkingfromwatergushingoutofthemouthofthemortar.Whilealayerofdust
liftsoffthegroundaroundtheiranklestheshadowsofthemarineshaveturned
7
inexplicablyintowater,aceruleanblueintenseagainstthepaletansofthedesert
andthemarines’
uniforms.Thehorizonof
theAfghandesertformsa
boundarybeneathwhich
theUSMarinescrouch,
theirbacksmimickingthe
mountainstoeitherside.
Abovethehorizonthe
AfghanTalibanstandagainstabluesky,observing,asifinadifferentspace,a
differentframeoftime.Itisthemortaranditssurrealtransformationintoapipeof
thirst-quenchingwaterthatbreachestheboundaryofthehorizonandbreaksthe
binary.Thetwoworldsconnect,bothliterallyandmetaphorically.
TheTalibanfighter’scuppedhandsandtheflowofwaterconstitutethe
centralfocusofthepainting,theviewer’seyeledtothembythemiddlemarine’s
flung-outarm,thelineofthemortar,theformationoftheclouds,andthetriangle
createdbythetwomarinesandthecrow.Thecuppedhandsandwaterarethepivot
betweentwoworlds,thatoftheUSmarinesintheforeground,andtheworldofthe
Talibanbehind,wherethreeotherfightersquietlyobservefromadistanceand
closerupthreeAfghanboyswalkmysteriouslypastcarryingartilleryshells.This
juxtapositionoftwooppositerealities,andthecollapseofspacebetweenthem
achievedbythedrinkingTalibanfightercreatesathirdreality,avisualconnection
whichbreaksspatialandnarrativeassumptionsandforcesacomparison,anda
connection,betweenTalibanfightersandUSmarines.
Figure1TheOppositeofFear,60”x90”,Oil&AcryliconCanvas,2017
8
RenéMagrittewasamasterofjuxtapositionandputtingthingstogetherthat
didn’tbelong.ArthistorianRexButlerwritesaboutMagritte:“Foucault'sargument
aboutMagritteisthatwhatweseeinhispicturesisthedisappearanceofthe
commongroundbetweenobjectsandbetweenobjectsandthelanguagethat
designatesthem.”Heclaimedthatitwastheactoftakingawaythecommonground
betweenMagritte’sobjects,placingtheminthoseunusualrelationships,which
allowedtheviewertocomparethemwitheachother.WritingaboutMagritte’s
paintingHegel’sHolidayButlerarguesthatitisthisthatallowsoppositestofind
unity.Hegel’sHoliday,apaintingdepictingaglassofwaterontopofanumbrella,
wastheresultofMagritte’sattempttocapturethesignificanceoftheglassofwater.
Inthecourseof150sketches,alinewhichkeptappearingintheglasseventually
turnedintoanumbrella,firstinsidetheglass,theninthefinalversion,underneath
it.Magritte,inalettertothecriticSuziGablik,declaresthatthisobject,whichhas
twoopposingfunctionswhenitcomestowater,isthe“exactsolution”tohisattempt
toshowthesignificanceoftheglassofwater7.
AsapainterIfoundmyselfworkingwith
juxtapositionsearlyinmyresearch,e.g.pairinglarge
transcendentskieswithflatroads,havingafour-lane
highwaypackedwithcarsandtruckstransformover
thenexthillintothetreesofanorchard,orplacingan
Americanfamily’slate-nightdinnerwithinthe
nocturnalruinsofabombedoutSyriancity.AsI
7RexButler,“SovereignStain:onReneMagritte’sHegel’sHoliday,”accessedFebruary15,2017,http://www.artdes.monash.edu.au/non-cms/globe/issue3/hegels.html
Figure2SpeedofGrowth(SlowDown),27"x20",AcryliconCanvas,2016
9
beganworkingwithsculpturalobjectsI
createdarainingumbrella.Iengineereda
store-boughtblackumbrellatorainwater
fromwithinitscanopy.Standing
mysteriouslybyitselfonawhitepedestalit
suckswaterfromahiddensourcewithin
thepedestalandthroughanarrayofplastic
tubinghungunderneaththecanopydropsa
gentlerainonthegalleryfloor.Mygoalwastorearrangetwoelementsthatare
otherwiseinoppositiontoeachother—rainandumbrella—totrytoachievea
transformationofthoseelements.Asaresultthenatureofboththerainandthe
umbrellachangesintoeithersomethingthatcannot
beadequatelydescribed(asenseofconfusionasto
thefunctionofeachpart),ortosomethingthatis
consideredwhollydifferenttotheoriginal(e.g.rain
thatisliterallyashower—gentleandwelcomed,or
theumbrellaasasourceofwater).This
transformation,achievedthroughsurreal
juxtaposition,iswhatIamexploringintheTaliban
fighterdrinkingwaterfromthemouthofamortar
firedbythethreemarines.Itisarearrangementofelementsthatchangesthe
natureoftheelementsthemselves.
Figure4YourDayJustGotBetter,72”x45”x45”,Umbrella,Tubing,Pedestal,Pump,2016
Figure3AQuietWar,28"x34",AcryliconCanvas,2016
10
BreakingNamingthroughSurrealism
Thesecondofthethreepaintings,TheYouinI,60”x72”insizeandpainted
oiloveracrylic,isbasedonanactualphotographofalocalAfghanvillagerserving
teatotwoUSMarinesstretchedoutontheground,machinegunsattheready,infull
defensivecombatposition.The
surrealismoftheworkisrootedin
itssurrealhistoricalreality.Ifind
thesettingofwarparticularly
illustrativeof‘theviolenceof
uniqueidentity.’Thehumanityof
theotherisstrippedawaybythe
singularcategoryof‘enemy,’with
soldierstypicallyundergoing
elaboratetrainingtodesensitizethemselvestothehumanityoftheiropponent.The
imageryofoccupationalforcesmovingthroughhumanlandscapes,bristlingwith
weaponsandwalledoffbymultipleprotectivelayersofhelmetsandHumvees,
entersthesurrealwhenjuxtaposedagainstcommonciviliansgoingabouttheirdaily
tasks.
Thispaintingcapturesamiracleofhumanconnectionthatactuallytookplace
withinthechaosofarmedconflict.Andyetforallitssurrealismthemomentislessa
miraclethanasimpleoutworkingofthelogicofhumandignity.Foundinmanynon-
Westerncultures,theAfghanvillagerispracticinganunderstandingofhospitality
thatcutsacrossallcategories.Thedignityofthevillagerandtheculturaltradition
Figure5TheYouinI,60”x72”,Oil&AcryliconCanvas,2017
11
oftreatingavisitorwithrespecthavebrokenthenamingresultingfrom/causing
violence.
Whilethecolorblueplayedasymbolicroleinthefirstpainting,anunder-
paintingofbrightreddish-pinkfiltersthroughthiswork,signifyinglife,blood,
energy,andaboveall,love.WheretheshadowsbelowtheUSmarinesinThe
OppositeofFearwerepaintedaflatblue,thesweater—andsignificantlythearmof
theAfghanvillagerextendingthecupoftea—istreatedinasimilarflatwaybutwith
reddish-pink.Theroleplayedbythedeserthorizon,separatingAfghansandmarines
intotwoworldsinthefirstpaintingisplayedherebytheboundaryofthebuilding’s
shadow,themarinesinside,theAfghansoutside.AndyetitisaUSmarineextending
outintothesunlight,acceptingthecupoftea,whichbreaksthatboundary.The
Marine’shand,theAfghanvillager’shand,andthecupofteabeingofferedformthe
centralfocalpointofthepainting.Whileelementssuchasgrenadesstrewnacross
theground,anAfghanandanAmericanboypullingeachothers’ears,andanAfghan
youthbitingintoanappleaddnarrativecomplexitytotheimage,thesanctityofthe
centralinteractionbetweenAfghanvillagerandsoldierremainsintact.
Thethirdpainting,HeLaughed,is
60”x55”insize,paintedwithoilover
acrylic,andutilizesamoretraditional
surrealism.Afighterrunsaroundthe
cornerofawall,duckingfromthemenacing
presenceofahelicopterintheskyandan
approachingdrone.Themassivemachine-
gunheclutchesistransformedintoaclosed Figure6HeLaughed,60”x55”,Oil&AcryliconCanvas,2017
12
umbrella,hisfingerwrappingaroundthehandleasifonthetriggerofagun.The
fighterissmilingawistful,almostmischievoussmile,asifrememberingsomething.
Orishelookingdownatasoccer-ballinthefieldofflowershefindshimselfrunning
through?,WhileanothernodoftheheadtoMagritte,IamdrawingontheVeristic
traditionofSurrealism.JuxtapositionwasacommontechniquewithinSurrealism,
andincontrasttotheAutomatisttradition,whichrejectedanyinterpretation,
VeristicSurrealismbelievedsubconsciousimagesheldpowerasmetaphorsandthus
contributedmeaningtotheworld8.Thusbyputtingfamiliarobjectsintounfamiliar
orunusualcontextsjuxtapositiondrawsonboththeconsciousandsubconsciousto
questionperceptionsofrealityandcreatenewmeaning,muchinthesameway
Magrittedid9.InthecaseofHeLaughedtheumbrella,thesmile,andthefootball
transformtheviolenceandtensioninherentinthesettingintoaninnocenceand
evenplayfulnessborderingonhumor.
WiththisimageIambuildingonresearchundertakenwithapreceding
paintingtitled
GivingAllYou
Got.Inseeking
toaddressthe
violenceof
naming,oneof
mystrategiesis
8CharlesMoffat,“HistoricalOriginsoftheSurrealistArtMovement,”Arthistoryarchive.com.ed.SuzanneMacNevin,lastupdatedAugust2011,http://www.arthistoryarchive.com/arthistory/surrealism/Origins-of-Surrealism.htmlaccessedFebruary21,20179“ReneMagritte,”Wikipedia,accessedFebruary21,2017,https://en.wikipedia.org/wiki/René_Magritte
Figure7GivingAllYouGot,60”x128”,AcryliconCanvas,2016
13
toappropriatethevisuallanguageofviolence,andthroughsimilarsubstitutions,to
transformthemeaningofthatviolence.InGivingAllYouGotIattemptedtochange
thatmeaningfrom‘force’to‘connection.’Attheexactmomentthatthejawofa
Mixed-MartialArtfighterisbeingbrokenbythepunchofhisopponent,Iplacea
bouquetofflowersintheopponent’sfist.Theflowersbreaktheoppositionalbinary
betweenthetwoMMAfighters,butbecausethejawisstilldepictedasbeingbroken,
theflowerssitinapositionofvisualdissonance.Foramomentthefamiliarityof
violenceisbroken,itsacceptedparametersundermined,andinsteadofdividingthe
twofiguresintovictimandperpetrator,theflowerandtheactiondepictedachieve
theopposite,drawingthefighterstogetherinanewundefinedrelationship.
Thispaintingworksofcourseonlytotheextentthatflowersarereadasa
metaphorforlove,reconciliation,orcondolence.Metaphorsplayaroleacrossall
threeMFAexhibitionpaintings,consistentwiththetraditionofVeristicSurrealism.
Asrandomasthesurrealismofanumbrellainafighter’shandsis,italsoholds
meaning.Withthethreatofdelugebybothhelicopterandovercastskytheumbrella
speaksofvulnerabilityandindefatigability.Theeffectisheightenedbythe
sweepinglandscapebehindthefighter,reminiscentoftheRomanticdepictionofthe
Sublimewherenatureinstillsfeelingsofawe,terror,anddanger10.Colorspeaks
metaphorically,too,wheregreenisusedtoturnaskyevilatthesametimeas
symbolizelifeandhope.Thedeviceofleavinganareaofcolorflatcomparedwith
therestofthepainting,isrepeatedhereasthegreenwall,itselfametaphorfor
protectivecoverandtenacity.
10“TheRomanticSublime”,TheArtoftheSublime,http://www.tate.org.uk/art/research-publications/the-sublime/the-romantic-sublime-r1109221,accessedApril7,2017.
14
Besidesthese,otherobjectsacrossallthreepaintingsreadmetaphorically,
relatingtoeachotherbyformandcontentinbothsimilarityandcontrast.The
watergushingoutofthemortarinTheOppositeofFear,asymbolofbothsustenance
andhumanneed,findsanechointhecupofteainTheYouinI(ritual&connection),
andtheumbrellainHeLaughed(deluge).The‘IraqiPiedCrow’hoveringabovethe
mortarinTheOppositeofFearisfoundinAfghanistanandinitsunusual
combinationofbeingbothblackandwhitecouldbereadasametaphorformulti-
valentidentityandtheunityofopposites.Placedintheskyitisintendedasa
metaphorfortranscendenceandbothconnectsandcontrastswiththemenacing
helicopterinHeLaughed.LikewisetheeggsinthenestonthegroundofThe
OppositeofFear,couldbereadasmetaphorsforboththefragilityandthepromiseof
life,whilecontrastingwiththegrenadesstrewnacrossthegroundinTheYouinI.
Yetdespitethemetaphoricalreading,attheirsimplest,theseobjectsplayasurreal
role,theirpresenceadisruptiontothecontextofeachpainting.
BreakingNamingthroughLayering
InTheOppositeofFearthehorizonofthedesertplaneextendsattwopoints
intothemarinesthemselves,partiallycoveringthemandcreatingadissonanceof
space.Theeffectbothstrengthensthehorizonlinebutalsocausesthesoldiersto
partiallyvanish.ThethreeAfghanboyswalkingbyareonlypartiallypaintedsothat
theytooexistinaliminalstateofdisappearance/appearance.Oneofthemarines
hastwodifferentpositionsofthesamehand.InHeLaughedthefighterhastwosets
ofarmsandtwofaces.Inadditiontojuxtaposition,oneofthestrategiestobreak
naminginallthreepaintingsisaprocessofover-painting,layering,with-holding,
andrepetition.Thesestylisticelementscauseavisualambiguity,creating‘echoes’
15
outofthesubjectmatterandmaketheimagerymoremalleableand‘messier.’The
resultingvisualdissonancecreatesmysteryandnarrativetension.Inemploying
thesestrategiesmypaintingsmoveawayfromarelianceonwhatRolandBarthes
calledthedidacticStudiumofaworktocreateopportunityforanexperienceof
Punctum,theinexplicable“pricking”oreven“wounding”thattheviewer
experienceswhenmovedbysomethingtheycan’tquiteputtheirfingeron.“WhatI
cannamecannotprickme,”BarthessaysofStudium.OfPunctumhecommented,
“Theincapacitytonameisagooddisturbance.11”
MyspecificattemptsatcreatingPunctumareinspiredamongotherthings
stylisticallyintheworkofthecontemporaryartistsAlexKanevsky,PhillipHale,
ChristianHook,andChristosTsimaris,whoutilizemulti-layering,abstraction,anda
processofvisualde-andre-construction.
BreakingNamingthroughbreakingthe‘TruthofOpticality’
Thethreepaintingsarepaintedinarealisticstyleasrepresentationsofreal
people,basedonphotographsgleanedfromnewssitesandblogs.Ononehand,this
factspeakstotherealityandhistoricityofindividualflesh-and-bloodhumanbeings,
asopposedtothecaricaturesour‘naming’maycreateoftheminourminds.Onthe
otherhand,thevisualdisjunctionsandinconsistenciesmentionedabovecallinto
questionthe‘truthfulness’ofopticality,thebiasand‘naming’inherentinthetaking
ofaphoto.Unliketheuniformityofaphotothepaintingsshowareasandobjects
renderedincontrastingdegreesofdetailandrealism.Incontrasttothesingular
‘truth’ofaphotograph,andbyextensiontheecho-chambersofsocial-mediaand
11RolandBarthes,CameraLucida:ReflectionsonPhotography,trans.RichardHoward(NewYork:HillandWang,1980)
16
distortionofofficiallysanctioned‘alternativefacts,’thepaintingsrevealmultiple
pointsofperspective.Forexample,thelegoftheboywalkingbehindthemortarin
TheOppositeofFearispaintedinfrontofthemortar.Atanotherlevel,these
multiplelayersstandasametaphorforthemulti-valencyofaperson’sidentity.
BreakingNamingthroughScale
EachofthethreepaintingsinmyThesisExhibitionstands5feethighand
placedendtoendwouldrun19feetinlength.Atthisscalethepaintingsbreak
opticalknowledgeandcreateahigh-affectiveandphysicallyimmersiveexperience
fortheviewer.Ichosetobeginpaintingonalargescaleafterwitnessingtheimpact
thatadrasticchangeinscaleachievedafterIbuiltasculpturalsetofeye-glasses5’x
15’x14’insize.Theeye-glassesweremadeofwoodpaintedblackwitheye-pieces
consistingofwhiteplastic
chainhungtocreatethe
illusionofasolidsurfacebut
designedtobestepped
through.Theresultant
disablingofoptical
knowledge,particularlydue
tosize,issomethingIsetouttoachieveinmypaintings.TheMMAfighterswere
paintedroughlytwicetheirlife-sizeandthevisualelementswithinthethreeMFA
Exhibitionpaintingsarelargeenoughtobeseenfromadistanceyetwithenough
detailtodrawtheviewerphysicallyclose.Astheydosothescaleofthepaintings
fillstheviewersfieldofviewandcreatesanimmersiveexperience.
Figure8AWayofSeeing,5'x15'x14',Wood&PlasticChain,2016
17
BreakingNamingthroughUnexpectedPairings
Liningthewallbelowthethree
paintingsisarowoffiftyAK47
bullets.Thebulletsonthefloorare
smallenoughtobeinitially
overlooked,giventhesizeofthe
paintingsabove.Thisisintentionalas
theirpresenceisdesignedas
secondarytothepaintings.Oncloser
examination,insteadofthebulletheadasmallpencilpokesoutofeachcasing,a
pairingofunexpectedelementsdesignedtodisablevisualmastery.Thisinstallation
pieceiscalledWordsarePossibilities.Bycreatingjuxtapositionsofthingsthatdon’t
fitIseektonotjustbreaknamingbut
createnewmeaning.Inmyresearch
thisbeganwitha5”x4”x12”bronze
hammerIcastusingahand-builtwax
model.Byturningtheheadofthe
hammerintoaflowerIsoughtto
changethemeaningofthathammer,a
signifierforforceorpower,intooneof
fragilityandbeauty,tosuggestalternativewaystomakesenseofthathammer,the
hammerbeingasignifierforotherkindsofforce.Inasimilarmanneralthoughthe
shapeofthebulletdoesn’tessentiallychange,itscontentliterallydoes,substituting
Figure9WordsarePossibilities,2.5"x0.5"x220",Bulletcasings&Pencils,2017
Figure10StruckbyBeauty,5"x4"x12",CastBronze,2016
18
asignifierfordestructionwithsomethingcompletelybenignifnotopposite,leading
themindtoalternativeassociationsofmeaningsuchasthepowerofwordstobring
lifeandreconciliationasopposedtothefinalityofbullets.
BreakingNamingthroughSwitchingofMedium
StandingafewfeetawayfromThe
YouinIisapedestalwithawhite
tablecloth,asingledinnerplacemat,
andaplate.Nexttotheplatearetwo
knivesplacedinoppositedirections,
hintingthatthediningarrangementis
tobesharedbytwopeopleon
oppositesidesofthepedestal.Onthe
plateisaloafofbreadandtwogrenades.Thegrenadesarethree-dimensional
versionsofthegrenadesstrewnacrossthegroundinTheYouinIbehind,butturn
outtobemadeofanythingbutsteel.Thegrenadesconsistentirelyofbutter,and
duringthecourseoftheexhibitionthesebuttergrenadesfragment,agradualand
non-violentdispersion,givingsustenanceandcreatinghumanconnection:Istand
ononesideofthepedestalandasviewerswalkpastIaskthem“Wouldyouliketo
breakbreadwithme?”Iftheychooseto,Iinvitethemtotearapieceofbreadfrom
theloafIholdoutandsuggesttheydiptheirknifeintothebuttergrenade,whileIdo
thesame.Inviewingandthencuttingintothebuttergrenadetheparticipant
experiencesthebreakingoftheopticalknowledgeofwhatagrenadeissupposedto
looklike.Intastingthegrenadetheyexperienceasuspensionofcerebrationwhich
furtherbreaksthecategoriesforwhatagrenadeshouldbe.Indoingsothe
Figure11WouldYouBreakBreadwithMe?24"x24"x4",Butter,Bread,Plate,Knife,Placemat,Tablecloth,2017
19
participantisplayingaprofoundroleintransforminganobjectofviolenceinto
somethinglife-giving.Theinstallationpiece,andtherelatedperformance,iscalled
WouldYouBreakBreadwithMe?
Ifirstexperiencedtheeffectsofbreakingopticalknowledgewithanumbrella
Ifabricatedentirelyoutofsteel.Achangeinmedium—andthetrompel’oeileffectit
created—broughtachangeinmeaning.
Thebuttergrenadeholdsspecific
semioticsignificance,replacingthe
associationofexplosionanddispersion
withsignifiersforhumanconnection.In
myresearchIcastgrenadesinsugarand
tealeaves,inadditiontobutter.Tea,
sugar,andbutterareusedinmost
culturesforactivitiesthatbringpeopletogether.Inmanywar-tornareasofthe
world,suchasAfghanistan,thesematerialsholdparticularsignificance,e.g.salt
beingasymbolforcovenantandtrust,andteaplayingaspecialroleinhospitality.
Inbreakingbreadwithmetheviewerexperiencesaformofcommunion,aspiritual
connectionwithanotherhumanbeinginawaythatviscerallymirrorsthehuman
connectionstheyseeinthepaintings.Inthemiddleofanartgallerywefind
ourselvessharingameal,andtheinteractioneitherendswithasimple‘Thankyou’
orextendsintoadeeperconversation.Andastheyhelpdismantlethegrenadesby
cuttingintothem—literallyeatingintothem—theviewerparticipatesinasymbolic
defusingofviolence,are-appropriationofthegrenadeforthenourishmentofbody
andspirit.Theflipsidetoenjoyingthetasteofthebutterhoweveristhatthe
Figure12WhentheSkymettheEarth/EvenThisShallPass,45”x45”x36”,FabricatedSteel,2016
20
participantmayalsoexperienceafeelingofcomplicityinwhatthegrenade
originallystoodfor,i.e.violenceandempire.
Naming,Iconography,andImperialism
AllthreepaintingsinmyThesisExhibitionarenailedasun-stretchedandun-
framedcanvasesdirectlytothewall.Atoneleveltheabilitytosimplypullthemoff,
rollthemuplikeabed-roll,andwalkaway,speaksofthemobilityandtransienceof
thesoldiersdepictedinthepaintings.Italsospeakstomyownnomadicexperience
comingasaninternationalstudenttotheUSforalimitedperiodoftime.Without
thethree-dimensionalityofstretchersorouterframesthepaintingsceasetobe
objects,butexhibitedasplainsheetsofcanvasinscribedwithpaintmarkstheycan
bereadasdocumentsorscrolls,referringtothelongevityofancientcivilizations
andthetenacityofhumancultureinthefaceofimperialconquest.Ibeganworking
withthetopicofwariconographically,notintendingtheimagerytotieme
definitivelytoanyonecontext.However,IrealizedIcannotescapethefactthatthe
works,bothliterallyandconceptually,areatsomelevelalsoacritiqueof
imperialismandtheout-workingsofpowerandidentityechoedinFoucault’s
analysis.Powergenerates‘truths’suchas:“Youareeitherwithusoryouarewith
theterrorists,”whichinturnjustifythemachineryofwarand,pittingAfghanagainst
American,resultinthereductionofcomplexhumanbeingsoneithersideofthe
dividinglineintoone-dimensionaladversaries.YetAfghanistanwithitslonghistory
offoreigninvasionshasbeencalled‘theGraveyardofEmpires’12.Inmypaintings
theliminalstateofpeopleappearing/disappearingcanbereadasoverlapping
12MiltonBearden,“Afghanistan-GraveyardofEmpires,”ForeignAffairs,Nov2001,accessedMarch25,2017,https://www.foreignaffairs.com/articles/afghanistan/2001-11-01/afghanistan-graveyard-empiresaccessedMarch25,2017
21
momentsoftime,thepresenceofthesoldiersjuxtaposedwiththeirabsence—their
inevitabledeparturewiththepassageoftime.Despitetheequivalentproblemof
‘violentnaming’inherentinTalibanandtribalworldviews,thestubborndignityof
thehumanspiritstandswitnesstothetransienceandultimatefollyof‘empire’.
BreakingSociologicalNaming
WhyamItryingtobreakthe‘naming’ofviolenceinmyart?Inutilizingthe
breakingofnaminginaphenomenologicalsense,Iamultimatelytryingtoachievea
breakingoftheviolenceofnaminginasocialandexistentialsense.Whatdowedo
withdifference?Howdoweresolvetheproblemofthe‘usandthem’binary?To
breaksociologicalnamingIturnfirsttothelogicoftheHegeliandialectic.German
philosopherGeorgWilhelmFriedrichHegelwasanearlycontributortothe
developmentofPhenomenology,andIfindinHegel’sconceptofTotalityoneof
severalpossiblesolutionstotheproblemofoppositionalstatesofbeingand
oppositionalstatesofconsciousnessvis-à-visathing.IncontrasttoAristotleanlogic
whichdelineatesdiscrete,separateentities,Hegel’sTotalitytoleratesstatesofbeing
whichnegateeachother.The‘Sublation’ofopposingfactors,isan“integration
withouteliminationorreduction.”ForHegelthewholecanbemadeupofpartsthat
contradicteachother.Applyingthislogictotheproblemofidentityallowstwo
seeminglyopposingidentitiestoovercometheircontradictionssimplythrough
closeranalysisofthetwoidentities.Additionally,theveryideaofidentitycanbe
foundtoconsistofopposingstatessuchas‘Particularity’and‘Universality,’both
criticaltoidentityitself.13Itisliterallybypointingtothe‘Universal,’whilestill
13LloydSpencerandAndrzejKrauze,HegelforBeginners,PublishedbyIconBooks,quotedonhttps://www.marxists.org/reference/archive/hegel/help/easy.htm
22
maintainingthelegitimacyofthe‘Particular’thatmyarthopestofinda‘solution’to
theproblemoftheviolenceofthebinary.InMagritte’srearrangementoftwo
objectsinHegel’sHoliday,removingthecommongroundbetweenthembreaks
namingandallowstheobjectstobecompared.Iattempttobreaksociological
‘naming,’theplacingofpeopleintosingularandviolence-justifyingcategories,by
placingthemvisuallyandnarrativelyintonewrelationshipsandtakingawaythe
‘commonground’oftheirconflictandconflictedrelationships.
InaneffortreminiscentofHegel,FrenchphilosopherGillesDeleuzedescribes
astateofpluralityusingtheconjunction‘and,’asopposedtotheattributive‘is.’
Deleuzespeaksofthefinalityoftheverb‘is,’referringtothe“attributivejudgment,”
and“judgmentofexistence”ofmuchofphilosophyandreligion.Inthephrase
“and…and…and…”Deleuze,similartoHegelandhis‘sublation,’findsnotmerelya
summationofmeanings,noraprocessofmeaningchangingfromonetothenext,
buttheco-existenceofstatesofmeaningandexperience.Hewrites:“Ofcoursethe
ANDisdiversity,multiplicity,thedestructionofidentities.Thefactorygateisnot
thesamewhenIgoin,andthenwhenIcomeout,andthenwhenIpassbyitwhenI
amunemployed.Thewifeofthecondemnedmanisnotthesamebeforeandafter.”
ToDeleuzeitisneithertheonepositionnortheotherbutthe‘AND’astheboundary
betweenthetwowheremeaningandsignificancelie,allowingforamultiplicityof
humanexperienceandidentity.14
Inaworldcollidingwithideologiesandtheviolenceresultingfrom
conflictingtruth-claimsFrenchphilosopherJacquesDerridafearedthattheHegelian
14RaymondBelloureditor,“ThreeQuestionsaboutSixFoisDeux,”InterviewwithDeleuzeinJeanLucGodardSon+Image(NewYork:MuseumofModernArt,1992),41.
23
conceptofsynthesismaybetoofinal,‘closingoff’ourexperienceorunderstanding
ofotherness15.Derridasawthe‘usandthem’binarysustainedbywhathecalled“a
violenthierarchy”—onesideofthebinaryinherentlyassumingsuperiority,e.g.the
USmarineovertheTalibanorvice-versa.16Derrida’sdeconstructionofthebinaryis
neitherareversalofthehierarchy—theoneacquiescingtheirclaimofdominanceto
theother—norawhole-salereplacement,denyingthebinarywithahomogenization
ofthetwoidentities.Itisatransformationofthenatureofthebinaryitselfthrough
dismantlingthe“rhetoricalstructures”—or‘naming’thatleadstotheoppositional
relationship—tocreate“aspacethatleavesroomfordifference,ambiguity,and
playfulness”.17Thisunderstandingoftruthhumblesus,underminingourfaithinthe
beliefthatwehavetotalknowledgeandforcingustoconfrontthehubrisofpower,
andopensusuptothedignityandmulti-valencyofthe‘other.’
ItislikelythatDerrida’sinsightsintoDeconstructionismwererootedinhis
painfulexperiencesof‘otherness’growingupJewishinMuslimAlgeriaandasa
brilliantyetpoorstudentataprivilegedschoolinCatholicFrance.Critiquingthe
constructionofthe‘other’isattheheartofPostcolonialstudies,foundedbythe
Arab-AmericanacademicEdwardSaidwhoinasimilarveinbroughthisbi-cultural
perspectivetothediscipline.Saidrecognizedhowthemanufactureofthe‘other’
fuelsbothhistoricandcurrentimperialistagendasoftheWest,suchasthosedealt
withcontextuallyinmypaintings.BuildingonFoucault’sconceptofhowatotalizing
15WilliamDesmond,“Hegel,Dialectic,andDeconstruction,”Philosophy&Rhetoric,Vol18,No.4(PennStateUniversityPress,1985),261.16JaquesDerrida,Positions,trans.AlanBass,(Chicago:UniversityofChicagoPress,1981),41.17“HierarchicalOppositions,”Deconstruction-in-music.com,accessedMarch23,2017,http://www.deconstruction-in-music.com/proefschrift/200_deconstruction/210_hierarchical_oppositions/hierarchical_oppositions.html
24
discourseconstructsthe‘other’SaidexaminedWesternrepresentationsoftheEast
andrecognizedhowsystematicallynamingthe‘other’exoticyetinferiorservedto
establishthesuperiorityofthecolonizerandjustifythedominationofthecolonized.
Saidpointedoutthatthesecategories,andtheus-and-thembinarytheyproduce,
extendintothepresentastheimperialismofpaternalisticandaggressiveforeign
policy18.YetPost-colonialismalsorevealsthetenacityofculturestorespondto
oppression,findingidentitybothin‘alterity’(thestateofbeing‘other’)andcultural
‘hybridity’(regainingcontrolbycreating‘transcultural’identitiesoutoftheirand
theiroppressor’sculture).Howdoweovercomethe‘us-and-them’binary?Said
revealedthat“weconstructan‘other’inordertodefineourselves”19.
Postcolonialismremindsusthatthe‘other’ultimatelyis‘us.’Humanizingthe‘other’
ultimatelyhumanizesourselves.Empathy,likeart,istheabilitytoimagine,tosee
oneselfinthe‘other.’InthewordsofGrantKester,aleadingscholarof‘dialogue
aesthetics’:“Wecanneverclaimtofullyinhabittheother’ssubjectposition;butwe
canimagineit,andthisimaginationcanradicallyalteroursenseofwhoweare.”20
AMetaphysicalFramework
Whypursuethesegoals?AtthedeepestlevelisavisionofwholenessthatI
tracetoaJudeo-ChristianarticulationwithinitsCreationaccount:auniverseandall
itscomponentpartsexistingmoralandrelationalinnatureandfunction.Inthis
18Dr.JeaneS.M.Willette,“Post-ColonialTheory:EdwardSaid,”Arthistoryunstuffed.com,Sep6,2013,accessedMarch25,2017,http://arthistoryunstuffed.com/post-colonial-theory-edward-said/19GaryA.Olson,“EncounteringtheOther:PostcolonialTheoryandCompositionScholarship,”JAC,Vol.18,No.1,Specialissue:ExploringBorderlands:PostcolonialandCompositionStudies(1998),51.20GrantH.Kester,ConversationPieces:CommunityandCommunicationinModernArt(Berkeley:UniversityofCaliforniaPress,2004),115.
25
accountacosmicrupturecausedbytheintroductionofsinintoamorallyperfect
universecompromiseseveryexistingrelationship,whetherbetweenCreatorand
Createdrealm,humanstotheselfortootherhumanbeings,orhumanbeingstothe
restofnature.Whatfollowsistheimperativetoplayapartinreconcilingand
rebuildingtheserelationshipsoverthecourseofhumanhistoryinareturnto
universalwholeness.
IfinditfascinatingtoseethisendeavordescribedbyPsychoanalysisasthe
devastationandseparationofbirth-traumaandourconsequentlife-longattemptto
regainwhatwaslostandreturntoastateofone-ness.Inseeingmygoalsthrough
theeyesofPsychoanalysis,theresultingbreakingoftheegotoregainwholeness
takesplacelessthroughself-destructionthanthroughself-denial,eschewingamong
otherthingsthepowerthatcomeswithnaming.Inthecontextofmywork‘re-
union’isbothspiritualandsocialinnature,thereturnto‘thewaythingsshouldbe’
basedonaframeworkforauniversalwholenessthatismoralinnature.Thedanger
ofthisviewbecomingjustanothertotalizingdiscourse,oppressiveinitsdisregard
forculturaldifferenceisoff-setbyanunderstandingoftranscendence,andthe
resultingepistemologythatplacesabsolutetruthbydefinitionbeyondthereachof
created,limitedhumanbeings.Theunderstandingoftruthasaninfiniteasymptote
tobehumblyapproached(yetneverfullyreached),ratherthanafixedCartesian
pointtobeclaimed,changesourstancetothe‘other.’ItinvertsFoucault’spower-
knowledgerelationshipasknowledgeisproducedbylettinggoofpowerand
steppingintotheshoesofthe‘other.’Thiskindofknowledgeempowersusinthe
tasksofempathyandconnectingtothehumanityofthe‘other.’Empathybecomes
26
bothmorallyimperativeandintellectuallyfeasibleandthusliesattherootofmy
attempttobreakthe‘us-and-them’binarythroughmyart.
Theconceptofthewholenessandinterconnectednessofallthingsisalso
affirmedbyPhenomenology.Incounteringthemisleadingbody-mindduality
createdbyGreekphilosophyandModernism,PhenomenologyechoestheHebrew
cosmology.Toanartist,bothGenesisandPhenomenologicalreadingsexplainthe
powerandagencythatvisualandsensoryobjectsexert,andtheprofoundrolethat
sensesplay,connectedbyaspiritualconsciousness.Theartistembodiesthe
rejectionofdualisminbreakingthemind’scontroloverthebodythrough“disabling
themarkersofcertainty.”21AsanartistIseektomakemyartworkaffectiveby
breakingnaming.Throughthisphenomenologicalbreakingofvisualnaming,Ihope
toachieveabreakingofnaminginthecontextofhumanrelationships.Andthusin
visualizingandchampioningthemulti-valentnatureofhumanidentityIhopeto
breakthecore‘us-and-them’binaryandintheprocessmoveeversoclosertoa
universalmoralwholeness.
21PatrickKinsman,“Phenomenology:Theinterpersonalcharacterofperception,”Class-roomLecture,HerronSchoolofArt&Design,Sep30th,2016
27
InstallationViews
28
29
Bibliography
Barthes,Roland.CameraLucida:ReflectionsonPhotography.TranslatedbyRichardHoward.NewYork:HillandWang,1980.
Bearden,Milton.“Afghanistan-GraveyardofEmpires.”ForeignAffairs.Nov2001.
https://www.foreignaffairs.com/articles/afghanistan/2001-11-01/afghanistan-graveyard-empiresaccessedMarch25,2017
Bellour,Raymond.“ThreeQuestionsaboutSixFoisDeux.”InterviewwithDeleuzein
JeanLucGodardSon+Image.NewYork:MuseumofModernArt,1992.Butler,Rex.“SovereignStain:onReneMagritte’sHegel’sHoliday.”Monash
University.AccessedFebruary15,2017.http://www.artdes.monash.edu.au/non-cms/globe/issue3/hegels.html.
Derrida,Jaques.Positions.TranslatedbyAlanBass.Chicago:UniversityofChicago
Press,1981.Desmond,William.“Hegel,Dialectic,andDeconstruction.”Philosophy&Rhetoric,Vol
18,No.4.PennStateUniversityPress,1985.Foucault,Michel,Power/KnowledgeSelectedInterviewsandotherwritings1972-
1977,EditedbyColinGordon.NewYork:PantheonBooks,1980.“HierarchicalOppositions.”Deconstruction-in-music.com.AccessedMarch23,2017.
http://www.deconstruction-in-music.com/proefschrift/200_deconstruction/210_hierarchical_oppositions/hierarchical_oppositions.html.
Kester,GrantH.ConversationPieces:CommunityandCommunicationinModernArt.Berkeley:UniversityofCaliforniaPress,2004.
Kinsman,Patrick.“Phenomenology:theinterpersonalcharacterofperception.”
Class-roomLecture.HerronSchoolofArt&Design.September30th,2016.Moffat,Charles.“HistoricalOriginsoftheSurrealistArtMovement.”
Arthistoryarchive.com.EditedbySuzanneMacNevin.LastupdatedAugust2011.AccessedFebruary21,2017.http://www.arthistoryarchive.com/arthistory/surrealism/Origins-of-Surrealism.html
GaryA.Olson.“EncounteringtheOther:PostcolonialTheoryandComposition
Scholarship.”JAC,Vol.18,No.1,Specialissue:ExploringBorderlands:PostcolonialandCompositionStudies,1998.
“Phenomenology,”TheBasicsofPhilosophy,accessedApril7,2017,
http://www.philosophybasics.com/branch_phenomenology.html.
30
“Phenomenology,”Wikipedia,accessedApril7,2017.https://en.wikipedia.org/wiki/Phenomenology_(philosophy).
“ReneMagritte,”Wikipedia.AccessedFebruary21,2017.
https://en.wikipedia.org/wiki/René_Magritte“TheRomanticSublime.”TheArtoftheSublime.AccessedApril7,2017.
http://www.tate.org.uk/art/research-publications/the-sublime/the-romantic-sublime-r1109221
Sen,Amartya,IdentityandViolence:TheIllusionofDestiny.NewYork:W.W.
Norton&Co.,2006.
Spencer,LloydandKrauze,Andrzej.HegelforBeginners.PublishedbyIconBooks.Quotedonhttps://www.marxists.org/reference/archive/hegel/help/easy.htm
“SymbolicCulture.”Wikipedia.AccessedMarch24,2017.
https://en.wikipedia.org/wiki/Symbolic_culture.
Willette,JeaneS.M.“Post-ColonialTheory:EdwardSaid.”Arthistoryunstuffed.com.Sep6,2013.AccessedMarch25,2017.http://arthistoryunstuffed.com/post-colonial-theory-edward-said/