(Amrita Sher-Gil (Indian painter) 1913 – 1941 Tribal Women, 1938)

‘Othering’ is the process of viewing or treating a person or group of people as intrinsically different from and alien to yourself. It may be ascribed to the historical treatment of Western women artists (as discussed in the previous blog post) by the male-run art establishment. However, it also applies to the way in which the reading of art has been skewed to suit a particular Western narrative.

Western art history is viewed in terms of the development of European ‘high art’. This progression is considered to have Greco/Roman classical foundations, a Renaissance ‘rebirth’, progressing to the modern era. Particular ideas are associated with Western art, such as that of the individual artist genius. Great artists were not only perceived as male, but also white and European.

Unsurprisingly such ideals were formulated and established by white European men…..When contemplating the work of women artists globally, it is therefore imperative to contemplate the impact of such dominating and oppressive cultural ideals.


(South African artist Nandipha Mntambo, Europa, 2008)

Western art historians, when considering art created beyond Europe, perpetuated the values of Western culture as the template for all cultural and artistic standards. In turn, ideas of Western and ‘non-Western’ art were created with the assumption of superiority and therefore…. inferiority.

Such polarity was embedded by the use of certain negative assumptions and stereotypes  ranging from ‘exotic’ to ‘primitive’.

Araya Rasdjarmrearnsook, Manet’s Luncheon on the Grass and the Thai Farmers, 2008, video

(In her short film The Two Planets (Dow Song Duang) 2012, the farmers of small Thai villages discuss several classic works of modern European painting while Thai artist Araya Rasdjarmrearnsook fixes her camera on them).

Imperialist and Eurocentric ideas have been highly influential in the reading of art from many diverse cultural origins. When considering European analysis of Chinese art, for example, the wealth of Chinese written theory and a complex artistic tradition spanning two thousand years (pre-dating European definitions of ‘high art’) threatened the very concept of Western superiority.

Chinese art was therefore largely sidelined and viewed separately from Western art history. Fundamental and complex concepts such as the significance of ‘brush method’ as culturally valuable expression were often devalued and misinterpreted.

Guan Daosheng

(Artwork by Guan Daosheng (1263-1316),  Chinese poet and painter who was active during the early Yuan Dynasty)

Western scholars often ignored or failed to recognise the variety of changing styles, subjects and evolution of ideas within Chinese art as part of a culturally rich and complex culture with its own canons and hierarchies.

To emphasise the idea of the East/West binary opposition, Chinese art was largely identified as ‘traditional’ …….and therefore not evolving in comparison to ‘progressive’ Western art.

Likewise colonial discourses from the West often considered the historically rich and culturally/religiously diverse India and the various countries of Africa, for example, as primarily ‘primitive’. Assumptions of a more enlightened, modern Western culture were part of the justification for colonialist rule therefore.

Ideas of acceptable forms of artworks to the West from certain cultures were also formed on the basis of concepts like ‘purity’. This meant that ‘non- Western’ art must suit the narrow assumptions of Western theorists. Art being read through such Western eyes however was often misunderstood in terms of the cultural context, the spiritual or social significance, symbolism and function.

Women, and women artists, suffered not only under the influence of such racist and colonialist ideals, but also in terms of being female. Patriarchal cultures, in addition to the misogynist interpretations of Western patriarchs, enabled a particularly hostile environment.

(In her 1982 work, No To Torture (below), Algerian artist Houria Niati questions the exotic stereotype perpetuated by 19th century French painter Delacroix)


In order to celebrate all women’s art, it is important to acknowledge the conditions in which it is created and perceived. Despite challenges from post-colonial and black feminist discourses, the othering of people, of women, of cultures, and the creation of such ideals incorporating the influence of European imperialism and Christian evangelism, have produced a long shadow over the reading of artworks from many diverse cultures.

Women artists globally, however, continue to work together and individually to create incredible and inspiring artworks.



3 thoughts on “Othering

  1. Fantastic blog; I’ve been thinking quite a lot about ‘othering’ recently (though didn’t have the language for it) and the way it forces those who are ‘othered’ to focus on their identity rather than their objective. A continual distraction which impedes achievement. You explain it so well here. Thanks.

    Liked by 1 person

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