{"id":410,"date":"2019-04-04T21:03:43","date_gmt":"2019-04-04T21:03:43","guid":{"rendered":"http:\/\/blog.valdosta.edu\/artcriticism\/?p=410"},"modified":"2019-04-04T21:03:43","modified_gmt":"2019-04-04T21:03:43","slug":"an-assortment-of-contemporary-craft","status":"publish","type":"post","link":"https:\/\/blog.valdosta.edu\/artcriticism\/2019\/04\/04\/an-assortment-of-contemporary-craft\/","title":{"rendered":"An Assortment of Contemporary Craft"},"content":{"rendered":"

Mixed Bag: An Assortment of Contemporary Craft displays five artists using interesting craft techniques to explore difficult subject ranging from universal human experiences to those of specific identity groups . The artwork in the gallery is spread across the wall and on simple white stands around the floor; there is plenty of space between pieces but the space still feels resolved and filled. Each of the five artists have more than one artwork to show though they are not always placed next to\u2014or even near\u2014each other; the exhibition is truly \u201cmixed\u201d. You may come across an artist\u2019s statement and biographical information across the gallery from some of their work. These statements give background information on both the artists and the meanings behind their art; they are best read after you have experienced and considered the work on your own and have come to your own conclusions.<\/p>\n

<\/p>\n

The work of one of the featured artists, Xia Zhang, explored her experience with racism and misogyny as an Asian woman.\u00a0In her statement, she talks about how she is expected to struggle and labor her entire life because she is an immigrant woman of color. Her work speaks to how fetishistic and stereotypical representations of Asian women \u201cperpetuate a cycle of white toxicity\u201d. One of Zhang\u2019s works consists of eight small screenshots from the 1960 film The World of Suzie Wong\u00a0<\/em>set in bulky frames painted a sickly yellow hung one after the other.<\/p>\n

\"Two
Madame X<\/em>. Xia Zhang. 2017.<\/figcaption><\/figure>\n

The piece is titled Madame X<\/em> after a famous painting by John Singer Sargent. Sargent originally named his painting after the real life subject it was based on but when controversy surrounded the piece he changed the title to Madame X<\/em> in order to obscure the identity of the woman and turn her into an archetype rather than an individual. By using the title of such a painting for her piece, Zhang is likely making a statement about how Asian women are often represented as archetypes rather than individuals. The subtitles narrating the moment in each screenshot have been sewn over with golden thread, making them stand out against the desaturated coloring of the film while at the same time obscuring the words and requiring more effort from the audience to read them.<\/p>\n

The World of Suzie Wong<\/em> is a film in which a white American man goes to China and has a romance with a Chinese woman named Suzie Wong. Asian stereotypes are rampant throughout the movie and Suzie, in particular, is treated as both childish and hyper-sexual; Sharon Mizota argues that she is depicted as being submissive, docile, and in need of a white man to take care of her and fix her problems. The role of media representation in reinforcing racist ideals surrounding Asian women is brought to the forefront of the viewers\u2019 minds when looking at Madame X<\/em>. The screenshots Zhang chose were succinct in their intention to point out the violence and discrimination Asian women encounter in a white dominant culture. Zhang\u2019s work is successful when taken at face value as well as being deeply considered; an example being the garish yellow\u00a0frames which could symbolize \u201cyellow fever\u201d\u2014the exotification and fetishism of Asian people.<\/p>\n

\"The
The Great Divide<\/em>. Elyse-Krista Mische. 2017. papier-m\u00e2ch\u00e9.<\/figcaption><\/figure>\n

Elyse-Krista Mische\u2019s papier-m\u00e2ch\u00e9 sculpture The Great Divide<\/em> is a pyramid shape with another smaller structure on the top. On opposite sides of each other are two flat sides covered with small white pom poms. Inside the negative space of the tower is a small sculpted candle which emits golden rays across the building. On the pyramid, red pom poms surround carved out stylized white figures. One lays near the bottom seemingly motionless while the other figure\u2014which has wings\u2014poses as if jumping towards the golden rays from the candle. The two remaining sides\u2014which point inward\u2014are painted white with a loosely carved brick pattern rather than pom poms.<\/p>\n

At first glance Mische\u2019s piece is simplistic, but as you look closer it is clear that a lot of attention was paid to form and composition. The more low-key aspects such as the small candle hidden in the tower and the emphasized elements such as the large bright red figures are both compelling. Each side of the sculpture is successful on its own and together, creating a bigger picture from which the meaning of the work can be found. The golden crosses at the very top of the structure speak to a Christian theme; this building could be a church.<\/p>\n

Mische\u2019s artist statement tells us that she is interested in the uncomfortable subject of death, believing that overcoming a fear of death and acknowledging that it will happen to us all one day results in us appreciating life more and making the most of our short time. With this in mind, the golden rays can be read as the light of heaven or a symbol for the Holy Spirit. The winged figure who appears to be flying towards the light might in fact be the soul of the opposite figure headed to heaven after dying. If Mische sees death as a fact of life rather than something to fear, this piece might take a warm view of the afterlife influenced by Christian ideas of heaven and angels.<\/p>\n

The themes found in Mixed Bag: An Assortment of Contemporary Craft<\/em> are difficult but important human experiences coming from a personal and vulnerable place in the five artists who presented work. The pieces in the show are compelling and unique. They challenge the audience to consider both familiar and unfamiliar perspectives deeply and with empathy.<\/p>\n

\n

Rebecca Waterman is a student at Valdosta State University pursue a BFA in Art Education. She graduates in December 2019 and plans to be an art teacher at a K-12 public or private school.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Mixed Bag: An Assortment of Contemporary Craft displays five artists using interesting craft techniques to explore difficult subject ranging from universal human experiences to those of specific identity groups . The artwork in the gallery is spread across the wall and on simple white stands around the floor; there is plenty of space between pieces … Continue reading An Assortment of Contemporary Craft<\/span><\/a><\/p>\n","protected":false},"author":495,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[71],"tags":[21,46,86,45],"class_list":["post-410","post","type-post","status-publish","format-standard","hentry","category-mixed_bag","tag-art-and-design","tag-dedo-maranville-fine-arts-gallery","tag-mixed-bag","tag-valdosta-state-university"],"acf":[],"_links":{"self":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/410","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/users\/495"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/comments?post=410"}],"version-history":[{"count":5,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/410\/revisions"}],"predecessor-version":[{"id":418,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/410\/revisions\/418"}],"wp:attachment":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/media?parent=410"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/categories?post=410"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/tags?post=410"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}