|James Kuo, Composition #1, 1993. Photo courtesy of AAAC.|
Hiddenly, such an artist must have perceived himself to be a hybrid, aware of an almost secret level of earlier conditioning lying beneath the surface veneer of westernization. Only recently did this hybridity come out of hiding and announce itself as a new approach to the idea of an inclusive and universal society. With the end of colonialism in the years between 1947 and 1976 it was no longer possible for the West to pretend that it was the only cultural presence in a world of strangely silent aliens. Indeed, as post-colonialism produced its inevitable byproduct of postmodernist multiculturalism, the situation of hybridity became elevated to a new idea of the cosmopolitan; only he who has nomadically made his way from culture to culture, acquiring layers that were not hidden but indexed on the surface, could claim to be, as Diogenes called himself, a Citizen of the World. Hybridism, nomadism, decentering, and pastiche became the ideals of a new age of humanity. Now it was possible for the artist to merge the styles of various cultures retaining the one into which he or she was born as the foundation on which the nomadic superstructure of a variety of relativized points of view was erected.
|V. C. Igarta, Title Unknown, 1983. Photo courtesy of AAAC.|
|Ted Kurahara, Triple Light Blue, 1984. Photo courtesy of AAAC|
|Seong Moy, The Little "500", 1958. Color woodcut. Photo courtesy of AAAC|