The Soundsuit Series and its Challenge to Western Aesthetics
The series of Nick Cave's Soundsuit utilizes a series of performance as well as found mediums in order to challenge the philosophical assumptions of the western society concerning the choices that are seen to be complicated and consequently valuable. The art by Cave questions such assumptions and the effect that they have on two cultural contexts. through the creation of art objects that function in performative and sculptural contexts, the Soundsuit series touches on the manner in which the standard of western esthetics decontextualizes African tribal works from the purpose in which they were originally intended (Williams). Through the use of discarded found objects, Cave is challenging the manner in which the preconceived notion of cultural prestige plays a part in contemporary classism and racism.
The Narrow Definition of Aesthetically Beautiful Objects
The western philosophical tradition narrowly defined the types of objects that could be considered to be aesthetically beautiful. For instance, there are some high art objects whose appreciation should be based on their formal detail and should be separated from historical or social interpretation. It should also "distance the observer from the observed" (Williams). This description of aesthetic sophistication does not factor in any work that needs interaction between the object and the viewer. The interaction that is carried out through interpretation is frowned upon, and the observers are mostly encouraged to lay their focus on the object as opposed to the social or economic considerations. A work that creates room for physical manipulation as opposed to being simply looked at is not given consideration in all the traditional western definitions of high art.
Decontextualization of African Tribal Arts in Western Museums
When African tribal arts are included in museums, they are presented in a manner that puts an emphasis on the western definition of aesthetic prestige. This context carefully gets rid of any aspects of African work that are not considered to be prestigious, even if the details are not important to the original purpose of the work. The original idea that is behind an object that is considered beautiful in Africa revolves around the manner in which that object is utilized. For example, sculptor figures were utilized in ceremonies while ornate costumes were used in ceremonies such as dances. Most African tribal works were not just made for the sake of being art; they were made for the purpose of public interaction, and this defies the manner in which the western world creates art. When these African arts are taken to the western museum, they are decontextualized from their original intention and instead, they are only displayed as still sculptural objects (Williams). Therefore, the western museum gets rid of any aspect of African work which is not considered to be sophisticated. Any intention of performance or any other form of physical manipulation is concealed since this would present the work as a tool as opposed to being an object of high art.
The Presentation of Soundsuits and Visual Tension
The presentation of Soundsuits has been done as objects of distant sound scrutiny that is encouraged by western aesthetic philosophy. When it is subjected to a distant oral scrutiny as the western philosophy encourages, Soundsuits result in visual tension (Williams). The rugs that wrap around some of the art pieces create several linear paths that make it necessary for the viewers to walk physically around the Soundsuit in order to invite viewers to imagine the feeling that they might get when they inhabit the art and get the feeling when they take a human form inside the suit (Kinsella).
Physical Interaction and Broader Definitions of Aesthetic Prestige
Soundsuits enable the viewers to scrutinize the formal traits, thus making them interact with the suit physically and then imagine that piece in a performance context, thus closing the gap that is between the observer and the observed, which is obvious in the high-art definition. Based on this visual tension, the work by Cave questions how aesthetic prestige is defined and argues for a broader definition that celebrates the way physical manipulation is one just as much as there is visual scrutiny.
Challenge to the Dismissal of Women's Artistic Medium
The Soundsuit series also challenges the manner in which the definition of aesthetic prestige dismisses women's artistic medium. Therefore, the western definition of high art creates a differentiation between a tool and an object. An object is held in higher regard than a tool. These categories are separated by mediums. Marbles and oil paints are perceived to be more complicated compared to clay pottery or yarn. As a consequence of this strict art definition of low-art as well as high art, one could almost automatically designate an object as being non-sophisticated and so lesser by simply paying attention to it.
Subverting Visual Cues and Repurposing Worthless Objects
Classification of an object as lesser based on visual cues has led to the creation of this series. Cave must have intended to subvert the automatic creation in order to put something in its category. The need for categorization was based on the worth of both social discrimination as well as the artistic medium. Cave looked at the role of identity as being profiled racially thus there is a feeling of being devalued which is less than being dismissed, and this is based on visual categorization.
These Soundsuits utilize mediums that are less valuable in order to challenge the notions that are preconceived of what constitutes prestige and worth. Every suit is made from found objects, especially from areas such as thrift shops or flea markets. Through the use of these sources, the suits repurpose the objects that were deemed to be worthless and were to be thrown away. Those objects vary from use knit rugs, which is something that is in most cases dismissed as crafts. Therefore, through the creation of high art using those materials that are seen to lack prestige, Cave has managed to give an opportunity for people to overturn the values that other people place on such materials (Williams). When such materials are included in art pieces, viewers will be forced to acknowledge that there is some worth in such objects. Moreover, the repurposing of such objects, the Soundsuits will further relate the social discrimination to the manner in which prestige is defined.
The Liberating Identity Concealment of Soundsuits
In conclusion, Soundsuits are supposed to tackle the issue of discrimination of performance pieces and sculptural pieces. Among the most common comments of those who wear the suit is that they conceal the identity, class, and gender of those who are wearing them. This is the message that the art intends to pass, and so it enables the wearer of the suit to have fewer inhibitions on the way that they move since the masking of their identity is liberating (Williams). The frequency in which society reaches sudden judgments based on some vague visual cues can explain the reason why concealing of one's identity could be so invigorating. The suits have been designed to encourage the movement of performers based on their big size.
References
Kinsella, Eileen. How Nick Cave’s Soundsuits Made Him an Art World ‘Rock Star.’ Huffington Post. Feb 05, 2016. Web. April 16, 2018. < https://www.huffingtonpost.com/entry/how-nick-Caves-Soundsuits-made-him-an-art-world-rock-star_us_57277dcde4b0b49df6abd1c4>
Williams, Brooke. "Medium and Meaning in Nick Cave’s Soundsuit." (2015).
