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Shoes can be seen as an authentic object as they reflect the cultural traditions and values of a particular nation, its artistic vision, and its experience. Understanding shoes as an authentic object leads to a distinctive view of the nature of the self which is a challenge to individualist rationalism, and the emphasis on personal autonomy. The work of art might criticize society and its institutions, but it, all the same, ends up being exhibited in that society, sold by a dealer and generally legitimated by the opinions of a middle-class art establishment. The work mocks major corporate and political figures by quoting their words, on a separate metal plaque, as advocating the arts as a social lubricant. Shoes are no longer something one simply wears on their feet, but a passion, a hobby, ones personal statement, a source of authority, sexual independence and joy (Abeyta, 2004). Nevertheless, the basic cultural structures in the societies represent the soul of the ethnic group or civilization. Even if it is the institution and not the work of art that first claims legitimacy, after that, it is the long-run value to the observer of the individual work of art that counts, far beyond the statement of anyone show (Riello and McNeil, 2006).
In their book, Riello and McNeil (2006) illustrate that shoes reflect the cultural traditions of civilizations. The authors underline that shoes show cultural significance as they have been created by artists and designers and fit a particular culture. The primacy of Western culture (and any privileged ordering by reference to it) determines the cultural trends of modern times. Sneakers and high heels reflect the modern preferences of people and their lifestyles. For many civilizations, the aim is often enough morally admirable: to look to the margin, to the repressed, to the excluded, and to argue for subversion or reversal of dominant values. This is indeed a classic impulse, but it took place under shaky theoretical auspices. Along with this physical aspect of sexual power and autonomy, high heels can create feelings of authority. When wearing high heels, one cannot slouch or hang back. Linda O Keefe, author of Shoes: A Celebration of Pumps, Sandals, Slippers (Abeyta, 2004). Of course, many proclamations by such persons indeed do this, to horrifying effect, but particularly in cases of conflict, it may be all the more important to locate the voices of the most reasonable persons for example, those who are most open to a rational conviction concerning the guilt and responsibility that arises out of conflict (Riello and McNeil, 2006).
Shoes are an authentic object as they reflect the personal freedom and liberty of the nation, its life preferences, and ideals. This is no more distinctive a view than a preference for the views of one politician over another, and it is hardly good evidence for original insight into a radically new condition of contemporary society. Liberal societies have spent over a century absorbing artworks that are hostile to them. In general, and with notorious exceptions, such societies do not neutralize or censor artists but protect their right to expression (Riello and McNeil 2006). The staple of many peoples artistic experience still lies within a form of realism, which keeps better faith than the designers with the possibility of arriving at the truth, and at a truth where humanitarian as well as political considerations are relevant.
In sum, shoes are a unique object of art as they represent and reflect cultural traditions of a particular period and epoch. They reflect the preferences and lifestyles of people, their traditions, and social values. For such discourses of authentic power contribute to the decentring and deconstruction of the self; they also serve to marginalize those people who do not partake in them.
Bibliography
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Abeyta, A. For the Love of Shoes.
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Riello, G., McNeil, P. 2006, Shoes: a history from sandals to sneakers by Giorgio, Peter (eds) Berg Publishers.
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