The depiction of Muslim-majority cultures as a foreign “other,” in contrast to Eurocentric values, occurs in museum art exhibitions and formal visual analysis.
From khakis to pith hats, certain items of clothing have become enduring emblems of European colonialism and particular scholars who know these problematic histories choose to engage in the aesthetics of colonialism in their everyday lives.
The British Museum’s Inspired by the East asks its audience to rehabilitate Orientalist art without ever focusing on what made it problematic in the first place.
The undercurrent of the book is the link between Japonisme, aesthetics, and queer culture: Admiring Japan was, in several cases, shorthand for queerness and a dainty homoeroticism.
The AC Institute is hosting a series of screenings that will examine the pervasive exoticization of Asian people and cultures in science fiction.
A new online exhibition on the ancient Syrian city of Palmyra by the Getty Research Institute forgoes the city’s historical complexity to take an Orientalist approach.
The Boston Museum of Fine Arts recently cancelled an event they had called “Kimono Wednesdays,” that, according to the museum, sought to engage people by arranging enhanced encounters with works of art.
Beauty has long occupied an inferior rank in the modern art world. At best, it’s deemed inconsequential — at worst, shallow. But this puritanical sentiment may be misguided, if two video works on view at the Asia Society are any indication.
PARIS — In forming an exhibition on the Orient Express, the railroad line most steeped in myth, it was wise to bring in the body of the train itself.
LOS ANGELES — I’m not a fan of the word “Third World” (third world to what?) but I am a fan of pop culture, and I’m fascinated by how American pop culture has intersected with all sorts of countries, rich and poor alike. So when I stumbled across a new tumblelog called Pop Culture and the Third World, I had to click on it.
Something about Tibet has always seemed very mysterious to the West. Maybe it’s the terrain of the towering Himalayas possibly inhabited by savage yetis, the legends of the heavenly Shangri-La, or the ancient traditions of Tibetan Buddhism embodied by the reincarnated Dalai Lama. All of these impressions, founded on fact or not, have naturally made for great comic book fodder, where the exotic and mystical image of Tibet fits in perfectly with superheroes and mad villains. The Rubin Museum of Art’s Hero, Villain, Yeti: Tibet in Comics is now presenting over 50 comics related to Tibet dating back to the 1940s.
MÉRIDA, MEXICO — Over the past two years planet art has born witness to a drastic metamorphosis. The mental apparition of “Asian Art,” inhabiting its blanket concept, was once as innocuous as Casper the friendly ghost. Westerners were at leisure to muse and amuse themselves with its mysteries and exoticisms, with the fleeting attentions of a visitor into another lord’s cabinet of curiosities.
Today our imaginations and anticipations have fed it to megalithic proportions. And the economic boom of contemporary art in the 21st Century continues to relentlessly close the gap between the world’s cultures of expression, to the point where the bedsheets of West and East have begun to rub up against one another — sometimes roughly. There is even talk of the voracious appetite of the Yellow Peril of Asian Art, positioning its markets and state-ordained “cultural industries” to consume planet art altogether.