The Self & Basquiat: Limitations of Pedagogy in the Recognition of Post-Colonial Aesthetics

abstract: The life of Jean-Michel Basquiat is often misinterpreted in artistic discourse. From a social justice perspective, Basquiat's work is not merely art. Despite the symbolism and subject matter open for analysis, Basquiat articulated the self in relation to nuances of race, socio-economy...

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Other Authors: Diffie, Dillon T. (Author)
Format: Dissertation
Language:English
Published: 2017
Subjects:
Online Access:http://hdl.handle.net/2286/R.I.46360
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spelling ndltd-asu.edu-item-463602018-06-22T03:09:08Z The Self & Basquiat: Limitations of Pedagogy in the Recognition of Post-Colonial Aesthetics abstract: The life of Jean-Michel Basquiat is often misinterpreted in artistic discourse. From a social justice perspective, Basquiat's work is not merely art. Despite the symbolism and subject matter open for analysis, Basquiat articulated the self in relation to nuances of race, socio-economy, and historical scripts based upon real relations and conditions. Of the genre of Neo-Expressionism without a disciplined schooling in art, Jean-Michel is categorized as 'primitive' in style and form, labeled the "first black artist." Beyond the art world's possessive confines and according to post-colonial aesthetics, Jean-Michel articulates the existence of a learning self. With a pedagogical lens, a process of becoming an "artist" deepened Basquiat's expressions of self in relation to a “white” art world, which typically restricted the artist to specific categories and definitional parameters. While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self. Dissertation/Thesis Diffie, Dillon T. (Author) Lauderdale, Pat (Advisor) Vicenti Carpio, Myla (Committee member) Blue Swadener, Beth (Committee member) Arizona State University (Publisher) Pedagogy Psychology Sociology Basquiat Colonialism Expression Pedagogy Recognition Self eng 84 pages Masters Thesis Social and Cultural Pedagogy 2017 Masters Thesis http://hdl.handle.net/2286/R.I.46360 http://rightsstatements.org/vocab/InC/1.0/ All Rights Reserved 2017
collection NDLTD
language English
format Dissertation
sources NDLTD
topic Pedagogy
Psychology
Sociology
Basquiat
Colonialism
Expression
Pedagogy
Recognition
Self
spellingShingle Pedagogy
Psychology
Sociology
Basquiat
Colonialism
Expression
Pedagogy
Recognition
Self
The Self & Basquiat: Limitations of Pedagogy in the Recognition of Post-Colonial Aesthetics
description abstract: The life of Jean-Michel Basquiat is often misinterpreted in artistic discourse. From a social justice perspective, Basquiat's work is not merely art. Despite the symbolism and subject matter open for analysis, Basquiat articulated the self in relation to nuances of race, socio-economy, and historical scripts based upon real relations and conditions. Of the genre of Neo-Expressionism without a disciplined schooling in art, Jean-Michel is categorized as 'primitive' in style and form, labeled the "first black artist." Beyond the art world's possessive confines and according to post-colonial aesthetics, Jean-Michel articulates the existence of a learning self. With a pedagogical lens, a process of becoming an "artist" deepened Basquiat's expressions of self in relation to a “white” art world, which typically restricted the artist to specific categories and definitional parameters. While recognition of the "artist" highlights the limitations of 'public' and 'self' in pedagogy, learning of the self through Neo-Expressionism is contingent upon articulating a situated existence among particular "publics," with regard to time and place. Variable dimensions of recognition create a fragmented self with transitional 'stages' and a series of acute shifts re-establish the definitional boundaries of art, definers, and ultimately the self and “Other”. These shifts continuously create new margins of the avant-garde and the self is redefined by art and discourse to sustain capital inflow, thereby replicating the colonial nature of capitalism with regard to communication, material and discovery, and “Other”. The process eschews a realized finality while expression as a relational communication of the situated persona redefines one's identity and demarcates a value of the self. === Dissertation/Thesis === Masters Thesis Social and Cultural Pedagogy 2017
author2 Diffie, Dillon T. (Author)
author_facet Diffie, Dillon T. (Author)
title The Self & Basquiat: Limitations of Pedagogy in the Recognition of Post-Colonial Aesthetics
title_short The Self & Basquiat: Limitations of Pedagogy in the Recognition of Post-Colonial Aesthetics
title_full The Self & Basquiat: Limitations of Pedagogy in the Recognition of Post-Colonial Aesthetics
title_fullStr The Self & Basquiat: Limitations of Pedagogy in the Recognition of Post-Colonial Aesthetics
title_full_unstemmed The Self & Basquiat: Limitations of Pedagogy in the Recognition of Post-Colonial Aesthetics
title_sort self & basquiat: limitations of pedagogy in the recognition of post-colonial aesthetics
publishDate 2017
url http://hdl.handle.net/2286/R.I.46360
_version_ 1718701670932676608