Since 1973, Atlanta Contemporary has provided an alternative to the art and
cultural hierarchy in the contemporary art scene.
The standard explanation of this work as an indictment of the authority of the museum and its classification of objects into
arbitrary cultural hierarchies has always felt somewhat canned and unsatisfying.
Playing cultural hierarchies against each other, the artist would often transcend «high» and «low» art references through irony and biting demystification.
In «Seven Artists in Delhi: Gigi Scaria», a video published by The Guardian in 2011, the artist talks about how, through his art, he explores the socio -
cultural hierarchies created through architecture and city planning.
He never seizes to challenge our preconceived notions and questions
of cultural hierarchy, the mythology of the artist and his position in society, or modes of production.
She layers iconographies from myriad cultures and time periods, imbuing the depicted figures with strength while abolishing
a cultural hierarchy.
In this work Broodthaers draws a link between Europe's imperial history and
the cultural hierarchies dictated by museums and galleries, thereby framing art as a sphere susceptible to colonisation.
Invoking the power of the symbol, she layers iconographies from myriad cultures and time periods, strengthening the depicted figures while abolishing
a cultural hierarchy.
Heather Passmore investigates aspects of class stratification and
cultural hierarchies by experimenting with different materials.