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2.2 How do we categorise art?
The differences in their reactions lie in my view – to follow a constructivist
political theory — in our mental images which are made up of our
preconceptions and perceptions, our comfort zones, our conformity to the
norms of ‘what is decent’ and ‘what is appropriate’ and our desire (or lack
thereof) to break the mould. Charles Kegley adds flesh to this argument when
he says: ‘Another part of the challenge stems from the tendency of people
to resist unfamiliar information and ideas that undermine their habitual ways
of viewing and thinking’. 10
He continues that:
Our images ... simplify reality by exaggerating some features of the
real world while ignoring others. Thus, we live in a world defined by
our images ... Most of us look for information that reinforces our preexisting
beliefs about the world, assimilate new data into familiar
images, mistakenly equate what we believe with what we know, and
deny information that contradicts our expectations. We also rely on
our intuitions without thinking and emotionally make snap
judgements. 11
Finally he locates the source of these innate ways of thinking which inhibit
such artworks as those of Diane Victor in her ‘Disasters of Peace’ series from
occupying an open and uncontested space as follows:
[H]ow we were socialised as children, traumatic events we may have
experienced growing up that shape our personalities and
psychological needs, exposure to the ideas of people whose expertise
we respect, and the opinions about world affairs expressed by our
frequent associates such as close friends or co-workers. Once we
acquire an image, it seems self evident. 12
Consequently the following deserve comment:
(i) There appear to be some social taboos which are difficult to overcome.
The explicit sexually violent drawing, its grotesque nature and the
forcefulness of the message can be disturbing indeed — but also touching.
Following Kegley, it is clear that the many calls made by visitors and staff in
favour of the removal of the artworks from the Centre are more a reflection
of their inability to overcome those taboos than of the etchings.
10 C Kegley World Politics: trends and transformations (12ed 2009) 3-5.
11 As above.
12 As above.
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