Presenting Indian art to an American

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Is Indian art particularly difficult to present to an American/Los Angeles audience? 

In India presently, it is rare to get people talking about racial stereotypes but the differences between a white and Indian is evident and racism though not talked about, is common. Whether the terms like stereotype, construct or image are used, they talk about the same thing. It is through the racism and revolution that has made it difficult to present Indian art in American audience currently. As stated by Dippie 2001, Indian arts are considered ideas about India and serve to characterize this community and the individuals that form it. Dippie 2001 emphasizes that Indian arts entrench itself as basic to India, and it is invariably self-serving and as various art works made in India promotes the tradition and interest of India majorly, and forms reality upon which Indian population exists.

The idea of Indian art according to Dippie 2001, has been traditionally important. The various art works have shaped the attitudes of Indian in the 19th cemetery who contributed in building India and shaping its policy. The India policy in this context mean removing Eastern tribes in the 1830s, reservation isolationism that started in 1950s as well as reservation allotments and assimilation in 1880s. These significant policies cannot however be understood without studying the India history. India and its past is not majorly studies in the American educational system and so little urge to explore it by America (Dippie, 2001). This makes it hard for the American to take time studying India art works.

Extending the discrimination practice, there exist a clear distinction between the noble and the ignoble and this is categorized based on an individual’s origin. India is considered savagery and considered below civilization and it some cases, below intermediate step, barbarism by some American citizens (Dippie, 2001). Since India is considered uncivilized, they are considered inferior to Americans. The reasoning according to Dippie 2001 thus comes, the ignoble and noble cannot share a common denominator be it in art or other areas. Americans thus ignore India arts. In Los Angeles today, it might be hard to present an India art and get an audience for it.

The other fact is that people are often not patient with the past. They tend not to understand why others keep referring to the past and why “by then” people got everything so wrong. The “by then” people get judged and contradicted on why they lived so. Additionally, in Los Angeles, getting people to understand how and what India art contributes to the history is a nightmare. The Los Angeles audience wants to live today study today and do things that concerns then currently and in future without reference to the past, period. The art and history students plus the American public have always given the question, “so what?” that is, they have not understand how there is a correlation between attitudes and the actual consequences collate and the importance of this correlation (Dippie, 2001).

Would it work to integrate the art with other art, say European painting and sculpture? 

Sculpture, like all the creative arts, is mainly a process of transferring into some tangible material seemingly intangible ideas. In most cases, to have the art work fully explain the artists ‘original intention, it is not advisable to mount another art work on it, for example, it is not necessary to paint a sculpture, in some cases. The first problem confronting every beginner is where to begin, what to grab hold of, where to get it, and how to go about using it after he has got it and this might be compromised by another art on top of what has been done. However, since sculptures can be carved of different kinds of wood, in some cases, they need painting and not other art works. Some hardwoods, such as beech, ash and cherry, can be polished until they shine not necessarily outing another art work. Softwoods, such as pine and spruce, are easier to carve but do not polish as well.

As stated by Macpherson 2006, a good painting uses the visual vocabulary poetically. One must arrange colors, value, shape, size, linear direction and texture aesthetically; editing the element of a scene into their proper hierarchy of importance according to the idea behind one’s painting. Shapes are not to be placed accidentally as they appear; place them purposely as one pleases, in arrangement that possesses the following qualities (Macpherson, 2006). When this is done to a sculpture, the original meaning and message communicated or ought to have been passed across by the artists disappears and only painting appears to the public.

As stated by Kleiner 2009, painting is a matter of greater mental analysis, of greater skills, and more marvelous that sculpture, since necessity compels the mind of the painter to transom itself into the very mind of nature, to become an interpreter between nature and art. Painting justifies by reference to nature the reason of the pictures which follow its laws (Kleiner, 2009). In what ways the images of objects before the eye come together in the eye. I would therefore not work to integrate the art with other art for instance European painting and sculpture.

How would you present Indian art to a public that probably knows nothing about it, and indeed probably knows nothing about India?

In order to present Indian art t a public that probably knows nothing about India and its art works, it is inevitable to have the public learn about India first. This reduces the chances of having the public unpleasant and bore down. After introducing the arts, it is easy to display them. Outright condemnation is easy, as to conform to what the public already know and image.

The other reason for prior learning before showing an art work to public is for their appreciations. When introducing a new idea and culture t the public, it is essential for the public to have an idea and the importance of studying what they are to study. When this is not carried out, the public will not loose interest but also the essence.

References

Dippie, Brian W. 2001. “American Indians: The Image of the Indian.” Nature Transformed, TeacherServe®. National Humanities Center. DATE YOU ACCESSED ESSAY. http://nationalhumanitiescenter.org/tserve/nattrans/ntecoindian/essays/indimage.htm

Kleiner F., 2009. Gardner’s Art through the Ages: The Western Perspective, Volume 2. PublisherCengage Learning, 2009.

Macpherson K., 2006. Landscape Painting Inside and Out: Capture the Vitality of Outdoor Painting in Your Studio with Oils. Publisher North Light Books.