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Disinheritance As Critique: The Paintings Of Lynette Yiadom-Boakye, Sabo Kpade
Disinheritance As Critique: The Paintings Of Lynette Yiadom-Boakye, Sabo Kpade
Masters Theses
Artistic influence can either be overbearing or liberating for the impressionable artist who is determined to arrive at an individualized artistic identity. One key strategy deployed by the artist is disinheritance as a means by which identity and meaning are created. In her paintings and etchings, British-Ghanaian painter Lynette Yiadom-Boakye has demonstrated several modalities of disinheritance by which she has arrived at a distinct approach to portraiture. Broadly, they come under two categories of major and minor disinheritance, each of which is conditioned by a variety of factors that range from aesthetic to philosophical, personal to political. They signify points …
Un-Done: The Historiographical Dialogue Between Past And Present, Rachel Cobler Wollert
Un-Done: The Historiographical Dialogue Between Past And Present, Rachel Cobler Wollert
Masters Theses
Art critic for The Nation and professor of at Columbia, Arthur C. Danto led the charge with his essay “The End of Art” in 1984 to declare the end of art. Thirty-eight years later, the awareness of colonial problematics in the elite institutionalism of art history today warrants a reanalysis of art historical ontologies of progress (and their ties to colonialism), which have seemingly disbanded in the discipline’s current rhetoric. Because Danto’s historical framework to end art focuses on progress through artistic means, does it fall short or even negate itself by missing the deconstruction of colonial afterlives still present …