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COMMONWEALTH OF AUSTRALIA
Copyright Regulations 1969
WARNING
This material has been reproduced and communicated to you by or on behalf
of Royal Melbourne Institute of Technology, (RMIT University) pursuant to
Part VB of the Copyright Act 1968 (the Act).
The material in this communication may be subject to copyright under the
Act. Any further reproduction or communication of this material by you
may be the subject of copyright protection under the Act.
Do not remove this notice.
Art Matters: Illuminating Contemporary Art
Shepparton Art Museum
2015
LECTURE 3: ART, POLITICS AND CENSORSHIP
Marco Fusinato, There is no authority, Anna Schwartz Gallery, Sydney, 2012
Works by Banksy in the West Bank
Part of the West Bank Wall’s Street Art Takeover, 2010
Lecture 3 - Art, politics and censorship
“what types of relations are
being produced, for whom, and
why?”
Claire Bishop, ‘Antagonism and Relational Aesthetics,’ October, Vol 110, Fall, 2004, pp.51-79
Installation view of the 7th
Berlin Biennale, 2012
Gerard Silva, Art IV, 2012
Edward Kienholz, Art for Art’s Sake, 1959
John Heartfield, Blut und Eisen (Blood and Iron), 1934
Ai Weiwei: Never Sorry, theatrical trailer, dir. Alison Klayman, 2012
Ai Weiwei, Sichuan Earthquake Photos (detail), 2008
Ai Weiwei, Remembering, 2009
Haus de Kunst, Munich
Political Approaches
• Postmodern politics
• No universal sense of truth
• Self-organising and local, but also fragmented
• Cultural materialism (materialist dialectics)
• Requires cultural interpretation of art to consider a range of contexts:
Art theory Social practices Economics
Psychology Technology Popular culture
Gender Race Sexuality
Geography Urbanism Historical research
• Does not predict what form culture will take
Chantal Mouffe, “Art and Democracy:
Art as an Agnostic Intervention in Public Space”, 2008
“Can artistic practices still play a critical role in a society where the difference
between art and advertising have become blurred and where artists and cultural
workers have become a necessary part of capitalist production?” P.7
“This has led some to claim that art had lost its critical power because any form of
critique is automatically recuperated and neutralized by capitalism.” P.7
“According to the agonistic approach, public spaces are always plural and the
agonistic confrontation takes place on a multiplicity of discursive surfaces.” P.10
Chantal Mouffe, “Art and Democracy:
Art as an Agnostic Intervention in Public Space”, 2008
Four different kinds of critical art:
•Art which engages with existing political reality
•Art which explores non-normative subject positions
•Art which critiques its own political condition
•Art which attempts to imagine alternative ways of living
Barbara Kruger, Untitled (Your body is a battleground), 19
Guerilla Girls, Naked, 1988
Shirin Neshat,
Rebellious Silence, 1994
Santiago Sierra, 250cm line tattooed on 6 paid people, 1999
Helmut Smits, Parking for white cars only, 2006
Richard Lewer, I wish I was as lucky as you, 2013
SAM Collection
Voina, FEAST, or wake in the Metro, 2007
Voina, Palace Revolution, 2010
AES+F, The Witnesses of the Future – The Islamic Project, 1996-2003
Jeremy Deller, Battle of Orgreave, 2001
Mark Wallinger, State Britain, 2007
Brian Haw’s original protest
Mark Wallinger, State Britain, 2007
Marco Fusinato, Double Infinitive 2, 2009
Raeda Saadeh, Vacuum, 2007
Deborah Kelly and Boat-People.org, Muffled Protest, 2010
Deborah Kelly and Tina Fiveash, Hey Hetero! series, 2001
Elmgreen and Dragset, Prada Marfa, 2005
Chihuahuan Desert, Texas
Paul Yore, The Big Rainbow Funhouse, 2010
Paul Yore, Everything is Fucked, 2013
Brett Bailey, Exhibit B, installation view, Edinburgh, 2014
David Marr, Art, Ethics and the Law, ABC/Fora TV, 2009
Andreas Sterzing, David Wojnarowicz (Silence = Death), 1989
Some Key Ideas from this lecture
• Art is open to different readings depending on the viewer, and some
viewers will interpret works in more political ways than others
• Contemporary theory increasingly argues that all art is political
• Art either reinforces, rejects or renders invisible the status quo
• Alternative argument is that art is just for art’s sake: aesthetics
• While art might be political, it could be argued that it doesn’t change
the world; however, it does exist in a relationship with the world and
can influence action
• Art under capitalism struggles to challenge the prevailing order since
capitalism is dynamic (Mouffe)
• The way to challenge this, according to Mouffe, is agonistic art
• Hal Foster says political art is about “actuality”, registering different
levels of experience (aesthetic, temporal, social, historical) in a work
• It can be difficult to make challenging work without facing censorship

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Lecture 3 - Art, politics and censorship

  • 1. COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING This material has been reproduced and communicated to you by or on behalf of Royal Melbourne Institute of Technology, (RMIT University) pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further reproduction or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice.
  • 2. Art Matters: Illuminating Contemporary Art Shepparton Art Museum 2015 LECTURE 3: ART, POLITICS AND CENSORSHIP
  • 3. Marco Fusinato, There is no authority, Anna Schwartz Gallery, Sydney, 2012
  • 4. Works by Banksy in the West Bank Part of the West Bank Wall’s Street Art Takeover, 2010
  • 6. “what types of relations are being produced, for whom, and why?” Claire Bishop, ‘Antagonism and Relational Aesthetics,’ October, Vol 110, Fall, 2004, pp.51-79
  • 7. Installation view of the 7th Berlin Biennale, 2012
  • 8. Gerard Silva, Art IV, 2012
  • 9. Edward Kienholz, Art for Art’s Sake, 1959
  • 10. John Heartfield, Blut und Eisen (Blood and Iron), 1934
  • 11. Ai Weiwei: Never Sorry, theatrical trailer, dir. Alison Klayman, 2012
  • 12. Ai Weiwei, Sichuan Earthquake Photos (detail), 2008
  • 13. Ai Weiwei, Remembering, 2009 Haus de Kunst, Munich
  • 14. Political Approaches • Postmodern politics • No universal sense of truth • Self-organising and local, but also fragmented • Cultural materialism (materialist dialectics) • Requires cultural interpretation of art to consider a range of contexts: Art theory Social practices Economics Psychology Technology Popular culture Gender Race Sexuality Geography Urbanism Historical research • Does not predict what form culture will take
  • 15. Chantal Mouffe, “Art and Democracy: Art as an Agnostic Intervention in Public Space”, 2008 “Can artistic practices still play a critical role in a society where the difference between art and advertising have become blurred and where artists and cultural workers have become a necessary part of capitalist production?” P.7 “This has led some to claim that art had lost its critical power because any form of critique is automatically recuperated and neutralized by capitalism.” P.7 “According to the agonistic approach, public spaces are always plural and the agonistic confrontation takes place on a multiplicity of discursive surfaces.” P.10
  • 16. Chantal Mouffe, “Art and Democracy: Art as an Agnostic Intervention in Public Space”, 2008 Four different kinds of critical art: •Art which engages with existing political reality •Art which explores non-normative subject positions •Art which critiques its own political condition •Art which attempts to imagine alternative ways of living
  • 17. Barbara Kruger, Untitled (Your body is a battleground), 19
  • 20. Santiago Sierra, 250cm line tattooed on 6 paid people, 1999
  • 21. Helmut Smits, Parking for white cars only, 2006
  • 22. Richard Lewer, I wish I was as lucky as you, 2013 SAM Collection
  • 23. Voina, FEAST, or wake in the Metro, 2007
  • 25. AES+F, The Witnesses of the Future – The Islamic Project, 1996-2003
  • 26. Jeremy Deller, Battle of Orgreave, 2001
  • 27. Mark Wallinger, State Britain, 2007
  • 29. Mark Wallinger, State Britain, 2007
  • 30. Marco Fusinato, Double Infinitive 2, 2009
  • 32. Deborah Kelly and Boat-People.org, Muffled Protest, 2010
  • 33. Deborah Kelly and Tina Fiveash, Hey Hetero! series, 2001
  • 34. Elmgreen and Dragset, Prada Marfa, 2005 Chihuahuan Desert, Texas
  • 35. Paul Yore, The Big Rainbow Funhouse, 2010
  • 36. Paul Yore, Everything is Fucked, 2013
  • 37. Brett Bailey, Exhibit B, installation view, Edinburgh, 2014
  • 38. David Marr, Art, Ethics and the Law, ABC/Fora TV, 2009
  • 39. Andreas Sterzing, David Wojnarowicz (Silence = Death), 1989
  • 40. Some Key Ideas from this lecture • Art is open to different readings depending on the viewer, and some viewers will interpret works in more political ways than others • Contemporary theory increasingly argues that all art is political • Art either reinforces, rejects or renders invisible the status quo • Alternative argument is that art is just for art’s sake: aesthetics • While art might be political, it could be argued that it doesn’t change the world; however, it does exist in a relationship with the world and can influence action • Art under capitalism struggles to challenge the prevailing order since capitalism is dynamic (Mouffe) • The way to challenge this, according to Mouffe, is agonistic art • Hal Foster says political art is about “actuality”, registering different levels of experience (aesthetic, temporal, social, historical) in a work • It can be difficult to make challenging work without facing censorship