The Intellectual Dimensions of Hybridization in the Art of Postmodernism

  • Hadeel Hadi Abdel Amir Department of Art Education / College of Fine Arts /University of Babylon
Keywords: Hybridization, Postmodern Art, Robert Rochenberg, Folk Art (POP ART)

Abstract

All contemporary cultures are hybrid and in the amount of their hybridity, their purity is the opposite of the concepts of purity, purity and monotony. The issue of hybridity does not rise to the forefront of the perception and vitality of cultures and does not adopt hybridity in its extreme manifestations. Cultural maturity is one of the other terms that have been developed to describe what happens to culture as a result of globalization trends The currents of globalization are one-way, spreading one culture, American culture, resulting in a cultural similarity all over the world that destroys any local cultural differentiation and those terms that focus on the elements of difference and the mixing of cultures and resist the ideas of cultural purity and Unified original cultures.

 The current research (the intellectual dimensions of hybridization in postmodern arts) has been addressed through four chapters. The first chapter includes the methodological framework of the research, in which the research problem was raised in answering the following questions:

  1. Are the intellectual, aesthetic and cognitive frameworks of hybridization applied in the visual field?
  2. Did the phenomenon of hybridization give an aesthetic and artistic perception in the postmodern

 arts represented by the works of the artist (Robert Rochsenberg) as a model that made his work with this excellence?

 Then comes the importance of research that contributes to the clarification of how the intellectual dimension of hybridization works in postmodern art. And openness to the diversity of performance of the hybridization of postmodern art, especially in the works of Robert Rochenberg.

The first chapter includes the research objective: the detection of the intellectual dimensions of hybridization in postmodern art (Robert Rochtenberg model). Limits of research were determined in the temporal boundaries of the period (1955-1980) and the spatial boundaries of artistic productions in the United States and Europe. By defining objective boundaries in the study of the intellectual dimensions of the hybridization of postmodern art by analyzing models of the works of art (drawing - compilation) of folk art represented by the works of the artist (Robert Rochsenberg) model. And defining terms to serve the current research.

The second chapter dealt with the theoretical framework and the previous studies. It included two subjects. The first topic was specialized in the study of hybridization in postmodern thought through diversity and difference in contemporary thought. The second topic dealt with the representations of hybridization in pop art The research community consisted of (150) paintings, and the research community was about (80) works by the artist (Robert Rochenberg) limits of the current research And as a framework for the research community. The researcher then chose (4) a sample of the research sample. The research took the method of "content analysis" as a service to the research purposes and relying on it to achieve its goal. The fourth chapter presents the results and the conclusions and discusses them in order to clarify the research topic. The research concluded by presenting a set of recommendations and proposals. The main findings of the research:  

  1. Cultural hybridization is the explanation for the emergence of new cultural forms in the world of postcolonial multiculturalism. It is one of the other terms that have been developed to describe what is happening to culture as a result of the currents of globalization. The currents of globalization are one-way, spreading one culture: American culture.

2.The hybridization of the technical formation of multiple materials, commercial products and technical symbols known in popular art (POP ART) was concentrated for the intellectual and aesthetic dimension to activate the signs of hybridization as a result of achieving the responses and requirements of the people in political, economic, commercial and advertising issues.

3.The hybridization of folk art opens in front of the game of presence and absence to assert itself at the level of visual discourse embodied not to seek realism but aspires to create a diverse hybrid of different civilizations and then dismantled from the real world and transferred to the parallel world is the world of art.

  Among the conclusions reached by the researcher:

1) The recognition of sensory knowledge and recognition of all what is partial led to the intersection of hybridization in the technical achievement in the work (Rochenberg), which is composed of the senses of the changing and scattered, they promote the formula camouflage and dreams.

2) The hybridization of races in folk art contributed to the dynamics of the different reality through contradictions, skills and accumulations, all of which represent the composition with its own human and societal extensions.

Based on the research findings and conclusions, the researcher recommends a set of recommendations and proposals.

1)Activation of applied experimental studies by hybridization of species to detect the creative aspects and within the preliminary studies of the students of the Department of Fine Arts.

 2)Contribute to the production of research and the translation of English books on postmodern arts in general.

In order to complement the research requirements, the researcher proposes the following research:

  1. The intellectual dimensions of hybridization in Islamic art

2.The aesthetics of hybridization in modern European art

 

 And then seal the search to a list of sources.

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Published
2018-06-18
How to Cite
[1]
H. Abdel Amir, “The Intellectual Dimensions of Hybridization in the Art of Postmodernism”, JUBH, vol. 26, no. 6, pp. 299 - 332, Jun. 2018.
Section
Articles