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Identity 2


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Identity 2

  1. 1. PETER STUPPLESRoom for appointmentAlways happy to talk to anystudent – but email first
  2. 2. Class times VA602001Lecture Wednesday 9.00-10.30Tutorial 10.40-11.30
  3. 3. You need…A green course book for notes on assessmentTo be able to use MoodleAll lecture Powerpoints, all tutorial reading texts,all assessment details are on Moodle as wellThe course SMS Code is VA602001All assessment tasks are submitted to me throughMoodle drop boxIf you have problems with Moodle go to
  4. 4. First assignment dueAssignment 1: Illustrated written assignment: ‘MyIdentities’, 750 words15 March 4 pmSend through Moodle drop boxHelp with Moodle?
  5. 5. Anna Maria Maiolino. Desde A até M (From A to M), from the series MapasMentais (Mental Maps). 1972–99. Thread, synthetic polymer paint, ink, transfer type, and pencil on paper, 49.8 x 49.5. The Museum of Modern ArtA reminder –don’t forget drawing Audio-ink:
  6. 6. Identity 2Portraying the Self
  7. 7. EmaTavola Subtitle ‘An Homage To Aotearoa’This link has flikr images of other works by EmaTavola and from VASU: Pacific omen of Power
  8. 8. Dürer 18, 20, 22, 29
  9. 9. Malevich, Self-Portrait, 1910
  10. 10. FridaKahlo, Self- portrait with Thorn Necklace andHummingbird, 1940,University of Texas at Austin Self-Portrait dedicated to Dr Eloesser, 1940 Milagros are in the form of the part of the human body a personhttp://www.fridakahlofans wants to be healed, placed altar of the Saint they pray to.
  11. 11. Lois White, Ode to Autumn, 1945 Oil on board 595 x 396 Private Collection, Auckland.Self-portrait as allegory
  12. 12. Robert Arneson
  13. 13. Giddens 1: The Self as a Reflexive Project We are not what we are, but what we make of ourselves. (Which becomes ourselves) Building/rebuilding a coherent and rewarding sense of identity (but… unpack those words ‘coherent’ and ‘rewarding’)From Anthony Giddens, ‘The Trajectory of the Self’, in Identity: A Reader(London: Sage, 2007), pp. 248-266
  14. 14. What we are ?What have wemade ofourselves?
  15. 15. Reflexivity‘Art, together with other sociallytransformational forces, may try to initiatesocial change, or be used to reinforce socialcohesion, to mark a perceived heritage. At thesame time art is itself altered by the very socialchanges or cohesion it is, in part, responsiblefor setting in motion or maintaining in activediscourse. Perhaps we may speak of amutuality of social and artistic interactions.Artists are under the influence of socialstructures and developments at the same timeas they are trying to influence them.’ Stupples
  16. 16. Things to Think AboutHow might you create animage of ‘What you are’,‘What you have made ofyourself’, ‘What art is’, ‘Whatart has made of itself’‘But what aboutaltermodernism?’
  17. 17. Putting ourselves in (an altermodern) context Nicolas Bourriaud, 2009 Altermodern POSTMODERNISM IS DEADA new modernity is emerging, reconfigured to an age of globalisation – understood inits economic, political and cultural aspects: an altermoderncultureIncreased communication, travel and migration are affecting the way we liveOur daily lives consist of journeys in a chaotic and teeming universeMulticulturalism and identity is being overtaken by creolisation: Artists are nowstarting from a globalised state of cultureThis new universalism is based on translations, subtitling and generalised dubbingToday’s art explores the bonds that text and image, time and space, weave betweenthemselvesArtists are responding to a new globalised perception. They traverse a culturallandscape saturated with signs and create new pathways between multiple formats ofexpression and communicationRemember – ‘nomadism’.
  18. 18. Laura Cumming The Observer, Sunday 8 February 2009Altermodernism, if I understand it, isinternational art that never quite touches downbut keeps on moving through places and ideas,made by artists connected across the globerather than grouped around any central hubsuch as New York or London. You might take theworldwide web as a model and think in terms ofhyperlinks, continuous updates and culturalhybrids. It is most definitely postcolonial,transitional and to some extent provisional, butwhat it is not, …, is a movement.
  19. 19. Let’s get the genealogy clearThe Modernist Trajectory – Modern Art releases the mindand hand from the conventions of the past AcademismModernisation equals progressBut the 20th century – that of Modernism/Modernisation-was a disasterPostmodernism rejects the binaries of Modernism but isstill ‘progressive’Postmodernism is in the minds of a few when the world ishell bent on ‘development’, a development that isdestroying the planetNot Postmodernism but Altermodernism – what we are
  20. 20. Franz Ackermann, Gateway-Getaway,2008-09
  21. 21. Micah White altermodern.html ‘And now, entering a new era of humanity where postmodernity is slipping into altermodernity, we find that the binaries we rejected are not only blurring but finally collapsing. Unable to say with any certainty what is real or virtual, human or animal, organic or genetically modified, some wish to resuscitate again, but this time with nostalgia, the failed antimodern project of shattering distinctions. While the chorus – composed now of cyberpunks and activists joined by capitalists and technocrats – rejoices in the indistinguishable difference between online and offline, organic and synthetic, man and machine, the most crucial distinction of all – that between resistance and complicity – is collapsing as well. Unless we can discover a way to critique the system without furthering the system, we shall be lost.’
  22. 22. ADBUSTERS
  23. 23. Giddens 2:‘The past forms a trajectory ofdevelopment from the past tothe anticipated future’ (butisn’t that Modernism andPostmodernism? Where hasthat positive outlook gone?Does the ‘alter’ hide a fear/aconfusion/or bravely look at areality?)
  24. 24. Remember Benjamin’s take on Klee’s Angelus Novus Why does everybody (everybody?) read Benjamin now and his take on Angelus Novus?)
  25. 25. Think…How does the past act as acreative trajectory for yourpast…and anticipatedfuture?Or are you entirely in thepresent?Self?
  26. 26. Giddens 3: The reflexivity ofthe self is continuous and all pervasive
  27. 27. Giddens 4: Self-identityCoherentPresumes a narrative‘Like any other formalisednarrative, it is something that hasto be worked at, and calls forcreative input as a matter ofcourse’
  28. 28. Chuck CloseMark (1978 - 1979), acrylic on canvas. took fourteen months to complete, wasconstructed from a series of airbrushed layers that imitated CMYK colour printing.
  29. 29. Chuck CloseClose suffers from Prosopagnosis, also known as face blindness,in which he is unable to recognize faces.1988 also paralysed from neck down.
  30. 30. Giddens: 5: Holding a Dialogue with Time durée – on-going timeLongue durée – the long term
  31. 31. As if itwere thelast time 2009
  32. 32. ‘And this is precisely what you do, you send them an email,download a track to your phone/mp3, get a map to where to go,get a time and syncronizeyour clock with them. Dont hear thetrack before you go, it spoils things (they say).You show up at the place in the map, at the time they tell you,with the track and a partner (I did it without partner). Theperformance starts at the hour, through your MP3, the music andvoice narrating what is happening on the street,and then gradually you have a place in the performance itself.’
  33. 33. As If It Were The Last Time‘As if it were the last time’ by Duncan Speakman, uses theconcept of the subtlemob.“Putting on a pair of headphones you find yourselfimmersed in the cinema of everyday life. As the soundtrackswells, people in the crowd around you re-enact the socialworld of today. Sometimes you’re just drifting and watching,sometimes you’re creating the scenes yourself. This is norequiem, this a celebratory slow dance, a chance to savourthe world you live in.” Duncan
  34. 34. As If it Were the Last TimeRe-telling space, time and participation‘What the performance did, and did so beautifully well, is that it gaveits participants a narrative. Furthermore, it gave the participants thepossibility of re-narrating the event, among themselves, throughtwitter, in the videos, through blogs and so on. In that sense for me itfulfilled some of the altermodern features very well. I was impressedby some of the comments, they were very reflexive, intelligentlyarticulated, felt, and involved. …, it was good for the streets, theurbanity of our lives.’‘Three altermodern features: the atomisation of emotionalexperiences, the performance impact on time itself, and the re-narrativisation of the stories met also the transformance of space, atheme that I feel, altermodernity is exploring further and further as itmoves on.’
  35. 35. Intensity DurationFor Henri Bergson duration is not an objectivemathematical unitHow do we experience ourselves through/intime?How do we see the self through time?How can we express these feelings/sensescreatively?
  36. 36. Giddens 6:‘The reflexivity of the selfextends to the body, wherethe body…is part of anaction system rather thanmerely a passive body.’
  37. 37. Jenny Saville, Torso 2 2004, oilon canvas 360 x 294 cm
  38. 38. Jenny SavilleTrace 1993-94 Oil on canvas 213.5 x 165cm, Plan 1993 Oil on canvas 274 x 213.5 cm
  39. 39. Jenny Saville,Shift1996-97 Oil on canvas 330.2 x 330.2 cm
  40. 40. Jenny Saville‘I have to really work at the tension betweengetting the paint to have the sensory quality that Iwant and be constructive in terms of building theform of a stomach, for example, or creating theinner crevice of a thigh. The more I do it, the morethe space between abstraction and figurationbecomes interesting. I want a painting realism. I tryto consider the pace of a painting, of active andquiet areas. Listening to music helps a lot,especially music where there’s a hard sound andthen soft breathable passages. In my earlier workmy marks were less varied. I think of each mark orarea as having the possibility of carrying asensation.’
  41. 41. Lucian Freud - Self-Portrait, Naked Man with his Friend 1978-80, 537 × 468Lucian Freud died in2011 aged 88. There was a retrospective at the National Portrait Gallery,London in 2012.
  42. 42. ‘JUST WHO does Lucian Freud thinkhe is? A bit of a devil, on the evidenceof his most recent self-portrait.Painter Working, Reflection is Freudturning the tables on Freud: theobserver observed; the painter ofnudes painted in the nude. It is not apretty sight. Freud looking at his ownreflection sees a pallid satyr gettingon in years, palette in one hand,palette knife in the other. Self-observation is tinged with self-mockery. Painting himself, the painteracknowledges his own mortality.Under the glare of an electriclightbulb in a barely furnished interiorhe looks himself in the eye.’
  43. 43. Giddens 7The role of art as a self-actualising agentSelf-actualisation is understoodin terms of balance betweenopportunity and risk.the tendency to actualize, asmuch as possible, [theorganisms] individual capacities
  44. 44. Self-actualisation and art – limits? Do these ideas apply to all fields of art – painting, sculpture, printmaking, textiles, jewellery, ceramics, photography, the electronic media? Wouter Dam
  45. 45. Giddens 8The moral thread of self-actualisation – authenticity – beingtrue to one’s self‘One has to take several different shots of a subject, fromdifferent points of view and in different situations, as if oneexamined it in the round rather than looked through thesame key-hole again and again.’ Rodchenko
  46. 46. Giddens 9 Life course – a series of passagesPicasso –Self-Portraits 1896, 1901, 1972
  47. 47. Giddens 10 Identity – Ema Tavola internallyreferential/kee ping the integrity but seeing the range and change
  48. 48. Anna Maria Maiolino. Desde A até M (From A to M), from the series MapasMentais (Mental Maps). 1972–99. Thread, synthetic polymer paint, ink,transfer type, and pencil on paper, 49.8 x 49.5. The Museum of Modern Art