Art has no dominion. In the twentieth century, the U.S. erected itself as the capital of global culture. Hollywood, the locus of movie production targeting the common public, soon grew to larger-than-life proportions, driving the business of the mass production and standardization of narratives and expectations.
Its doppelganger in elite culture, the New York City art scene with its esoteric values, became the sole arbiter of contemporary art, ordaining culture codes that stamped out foreign innovation, along with racial and gender diversity that did not pertain to American art about American life.
Today’s global internet age, in which the prince and the pauper both participate in a shared platform of ideas and exchange, shatters the contemporary art world’s established hierarchies. Borders have all but disappeared not only in the virtual but also in the real world due to the ease, speed and affordability of modern-day travel. In an adaptation of Maslow’s hierarchy of needs, the twentieth-century art market assumed that economic stability is prerequisite to cultural production. Yet the millennia-old dictum that cultural hegemony follows economic and military imperialism no longer holds.
With courage, and experience, the Caudwell Collection vision draws a parallel between the American spirit and the freshness and vigor of the art scenes in Europe, Africa, and Asia. The Caudwell Collection envisions a world where everyone can participate inclusive of their background,fame, race and gender.
List of artists:
Avery Singer, Dana Schutz, Salman Toor, Lynette Yiadom-Boakye, Toyin Ojih Odutola, Bridget Riley, Fred Eversley, James Capper, Sara Lucas, Elizabeth Peyton, Joel Dean