Modern Art a Conspiracy Part 2
Below is a MRR and PLR article in category Arts Entertainment -> subcategory Other.
Modern Art: A Conspiracy - Part 2
Summary
Modern art is criticized as a product of racism and imperialism. The so-called pioneers, such as Picasso, struggled with their own identities as true artists and used African art to mask their creative shortcomings. This article delves into the historical and ongoing cultural exploitation underlying the rise of modern art.Article
Throughout history, there has been a disregard for understanding other cultures, focusing instead on exploiting them for personal gain. Opportunities to genuinely explore diverse artistic traditions were missed, with influential figures choosing instead to reshape perceptions and profit from their misappropriation.
We must honor those who have bravely spoken out, often at great personal cost, against attempts to erase Africa's rich heritage. Despite Africa being the cradle of civilization, its contributions have been systematically overlooked or misattributed. The pyramids of Egypt, for example, are sometimes erroneously credited to aliens because they’re deemed "too advanced" to be African creations.
The first documented contact between Europeans and African art is often misunderstood. While many historians point to 1905, the looting of Benin in 1897 paints a different picture. The British Punitive Expedition brutally ended the thriving Kingdom of Benin, taking countless treasures. The Scramble for Africa, characterized by competing European claims to African territories, was not just about land?"it was about claiming art and culture.
African art entered European collections as early as 1470, with a piece from the kingdom of Kongo landing in Portuguese hands. Figures like Picasso and Matisse, regarded as pioneers of modern art, were more accurately early European collectors of African art. Picasso, born as Pablo Ruiz y Blasco, eventually adopted his mother's name, Picasso, and moved to France in 1901, where he embraced African art.
Picasso's approach was less about innovation and more about appropriation. He proclaimed, "I do not seek. I find," highlighting his view on "discovering" African masterpieces. His famous quote, "Bad artists copy. Good artists steal," underscores the exploitative roots of his success.
Modern art has often been seen as a conspiracy linked to racism and imperialism. Picasso himself admitted that although he was famous and wealthy, he did not consider himself an artist in the historical sense. He acknowledged the greats like Giotto and Rembrandt and saw himself merely as an entertainer of his era.
Previously, I discussed the European avant-garde's reliance on African art to invigorate their creative drought. French art critic Louis Vauxcelles coined terms like Fauvism and Cubism, emphasizing a break from academic traditions. They sought inspiration beyond naturalism, often ignoring the professional depths of the cultures they borrowed from.
Cubism, particularly, rejected the notion of art imitating nature, instead focusing on geometric abstraction. Vauxcelles and his circle were more interested in escaping tradition than embracing professionalism, prioritizing their supremacy agendas over authentic artistry.
Despite Picasso and his contemporaries fooling many, the racist underpinnings of their actions are often glossed over. Picasso’s own words reveal his manipulative genius: "An artist must know how to convince others of the truth of his lies." He amassed over 100 African artworks, profiting from their abstraction while disavowing the concept.
There’s much more to uncover in this ongoing analysis. Stay tuned for Part 3, where we'll continue to explore the implications of these historical truths.
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