SlideShare a Scribd company logo
1 of 60
Download to read offline
“Alice was beginning to get very tired
  of sitting by her sister on the bank,
 and of having nothing to do: once or
  twice she had peeped into the book
 her sister was reading, but it had no
 pictures or conversations in it, “and
  what is the use of a book”, thought
       Alice, “without pictures or
             conversations?”
Purity and Decadence

Idea art, chi chi conceptualism, ikea art
 ‘versus’ form, colour, visual pleasure...
          A phoney opposition?
•   “Should art be concerned with (and preserve at all costs) its own
       specialised laws, issues and competencies and address an
     elevated elite public, actual or ideal? For some, this preserves
      the Utopian vision of creative human expression untainted by
     kitsch or political doctrine; for others, it maintains an insulated,
      socially exclusive and gendered art, with attendant discourse,
     which feeds the market in novel objects and provides state and
         corporate agencies with symbols to be used for whatever
     ideological reasons they wish. Alternatively, should art engage
     with the social and cultural world at large to give expression to
        those issues, controversies and interests that are stifled by
     dominant ideologies? For some this preserves the power of art
      to engage critically with what Baudelaire called ‘the transitory,
          the fugitive, the contingent of the present, in a way that
    addresses a constituency for whom culture has a broader social
    base; for others, this is naive, conscience wringing whine leading
                      to bad art and special pleading. “


                             Francis Frascina
                                                                  3
“There is a danger in this rivalry of thinking that art
which is not visually interesting must ipso facto be
   clever, or alternatively of discarding visually
  interesting art as being ipso facto not clever.“


                     Dave Beech
                      Artmonthly
5
Key features of Conceptual Art
•   The dematerialisation of the art object -anti
    optical - anti formal. Concept over Form.
•   Resistance to the art market / to corporate
    buying power. Critique of the institutions of
    art (museums, critics, dealers)
•   Investigation of the status of the art object -
    the ontology of art -art that didn’t look like art.
•   A rejection of the myths of modernism -
    especially in relation to ideas of expression,         Reading Position for Second Degree Burn,
    authenticity (see collaborative practice)             1970, Jones Beach, New York, Duration of
                                                          Exposure: 5 hours. Dennis Oppenheim,

•   New mediums - the embrace of non
                                                          1970-1974.


    conventional forms for artistic communication
    - text, photography, video, performance- the
    search for more democratic forms of
    communicating.
•   A questioning of the social role of the artist -
    artists no longer mute doers.
•   A re-imagining of the role of the spectator - a
    shift from a passive consumer of aesthetic
    objects- to an active reader and interpreter
The ontology of art
The Conceptual artist Joseph Kosuth remarked that the
         ‘purest’ definition of conceptual art
   would be that it is an inquiry into the foundations
                  of the concept ‘art’.




                             John Baldessari
                             ‘What is Painting’
                             1968
“Art doesn’t require being able to
draw, or being able to paint well or
know colours, it doesn’t require
any of those specific things that
are in the discipline, to be
interesting”

Bruce Nauman
Anti Aesthetic - Anti Object
The New Spirit in Painting
                   Royal Academy (1981)




Sean Scully
Paul
1984




                                   “Schnabel had rediscovered the joy in art”
                                           New Spirit in Painting Catalogue
12
Neo Conceptualism (1990-98)
Artists react against what is seen as the parochial,
out dated conservative appearance, tone and
values of the British art world. Conceptualism has
a pure, ‘international’ style.

A generation of younger artists, specifically in
London at Goldsmith’s college and in Glasgow at
GSA ‘rediscover’ (copy, appropriate or repackage)
the work of first generation conceptual artist from
the late 1960’s and 70’s.

Partly this shift is stylistic (black and white,
minimalism devoid of signs of the hand or
‘touch’) . It also asserts the primacy of the idea,
for some, at the expense of the form or material.

Unlike first generation (60’s and 70’s)
conceptualists, these artists were keen to transport
‘idea art’ into the everyday.
Julian Opie
Gillian Wearing
Simon Patterson
Damien Hirst
The Asthmatic Escaped II, 1992
Glass, metal, camera on tripod, shoes, clothing, film, saucer, plastic cup and lid, candy bar,
and inhaler
87 x 168 1/4 x 83 3/4 in. (221.0 x 427.4 x 212.7 cm.)
Glasgow Neo-Conceptualism
Key Artists:
Douglas Gordon
Christine Borland
Roderick Buchanan
Jacqueline Donachie
Douglas Gordon
Socially Engaged?




Work in Progress1995

The men in 'Work in Progress' are wearing either Inter Milan or
AC Milan football team shirts. The type of portrait is familiar
from football publicity photographs, where the players stare
                                                                  Roderick Buchanan
ahead with their arms held behind their backs. However, instead
of being Italian sportsmen, the players are from amateur five-a-
side Glasgow teams. Their separation into two sets alludes to
the need of individuals to lend themselves a separate identity,
while at the same time maintaining common bonds of
knowledge and agreed opinion. The implied rivalry echoes the
competition between the two Glasgow football teams, Rangers
and Celtic.

National Gallery of Scotland
Criticisms of - reaction against ‘idea’ art

“Today we have nominal triggers
for regurgitating arguments better
rehearsed elsewhere, which are
neither illuminated nor in any
sense present within the work.
This is work that is essentially
literary. Work that repels the
senses and takes us off to the
library. The press release is the
pitch, is the interpretation, is the
whole work ready to be phoned
around the world. Art that in
deconstructive logic is a footnote
to the text which justifies its
existence. “                           Christine Borland

Mark Wallinger
“Fool Britannia: not new , not
clever, not funny”
The lost radicalism
• ’Saatchi’s taste is very much for art that
  looks like advertisments, and who -except
  an adman -would want to own one of
  them?” Julian Stallabrass High Art Lite pg. 201


• Idea art becomes ikea art -”you got to have
  a good idea” - the tyranny of the good idea
• Fetish made of ‘being seen to be sharp and
  smart’ - chi chi conceptualism
“People having been looking at work and
  saying that’s a nice idea. I really hate
 good ideas, why not write them down? “

            Robert Johnston
               Untitled magazine
“The only thing Neo
Conceptualists share with
Conceptualists is the use
of the word conceptual.”


  Terry Atkinson
The Idea is to Shock
Paintings back! (again..) Did it ever go away?

•   Visual pleasure - return of the
    seductive, opulent,
    unashamed reveling in the
    pleasures of painting.
•   A reaction against the
    dominance of photographic,
    video, installation ‘idea’ based
    art, as well as the use of ready
    made and the lo fi
•   A desire to produce work that
    was resistant to easy
    incorporation with the
    machinery of the culture
    industry (educational
    workshops - too easily
    pitchable one liners)
“Inevitably , the yba cult of
personality became tired. .New
artists and curators began
looking elsewhere. Artists
wanted to make art without
anyone peering over their
shoulders. They became
enthusiastic about making
things again. Art started to look
like it was having more fun while
artists remained serious in how
they reflected their concerns…
Cynicism was finally passe and
the art star a bore..”


Dick Price
‘Die Young Stay Pretty’

                                    Martin Maloney
Dan Perfect
                                               David Thorpe




              Daniel Coombes

                               Chantal Joffe
“In the art world, this new
tendency has been seen
largely for what it is: a
cynical ploy, given the
growing dissatisfaction
with the antics of high art
lite, to push the art market
on in a direction that
Saatchi can control”

Julian Stallabrass
Saatchi and Sensation
‘High Art Lite’
Dave Hickey
•   Key texts “Air guitar” “The Invisible Dragon - Four
    Essays on Beauty”
•   A critique of the austere, censorious politically
    correct culture that has, for Hickey, engulfed
    American art since the early seventies.
•   Hickey’s writing aims to place questions of
    aesthetics - of visual pleasure, experience, fun
    and most importantly for him beauty, back on the
    agenda.
•   “A lanky graduate student had risen to his feet
    and was soliciting my opinion as to what “the
    issue of the Nineties” would be. Snatched from
    my reverie, I said, “Beauty”, and then more firmly.
    “the issue of the nineties will be beauty [..] the
    total, uncomprehending silence that greeted this
    modest proposal lent it immediate credence for
    me. “ (Enter the Dragon on the vernacular of Beauty pg. 11)
•   His essays aim to invoke a relationship to art
    based on enthusiasm and being a fan, rather
    than theoretical interpretation, critical
    deconstruction or a demonstration of arts social
    usefulness.
• Theological nit picking and sensory deprivation

                                              “What is the good of
                                              music? What is the good
                                              of painting? There is
                                              nothing truly beautiful
                                              that can be used for
                                              anything; everything that
                                              is useful is ugly, for it is
                                              the expression of some
                                              need..The most useful
                                              room in a house is a
                                              latrine”

                                              Theophile Gautier
                                              (1811-72 Preface to
                                              Mademoiselle de
                                              Maupin)
•   “The artist Renne Green has enumerated some current art world cliches
    exemplified by Hickey’s thinking:


•   Art is borderless
•   Thinking causes over seriousness and the deflation of fun and beauty, which
    are equated with aesthetic pleasure.
•   To think means to think too much,and is in conflict with expereincing (which
    is thought of in binary terms and is thus associated with feeling,i.e feeling/
    experiencing vs. thinking).


•   Hickey strangely presumes that people - and educated art audiences in
    particular - cannot take pleasure in a demanding work, or a political work, or
    even a play of ideas”


•   Julian Stallabrass
                                                                         35
•   Art Incorporated
• In his books he constantly alludes to his rich and
  cultured background, but systematically fails to see the
  connection between this socialisation within culture, and
  his subsequent feelings of being so at home within art.
  Instead of acknowledging that his sense of belonging is a
  cultural privilege, intrinsically linked to social
  inequalities within the broader culture, he turns it into a
  kind of magical gift. But, Hickey’s sense of belonging
  within culture is simply not available to everyone. In this
  respect he perfectly typifies Bourdieu’s remarks that the
  greatest mystifers are the most mystified.
•




                                                     36
Early One Morning
                                       Whitechapel Gallery
                                            London
            
      
     
    
    
    
     
    06 July - 08 August 2002



                Their work demonstrates a sensuous enjoyment of materials, which they activate in dynamic
                and unexpected configurations. Largely abstract in composition, their work reclaims beauty
                and pleasure, sampling from the formal strategies of Modernism at the same time as design,
                fashion, music and advertising. Their works can be spatial, tactile and riotously colourful.




http://www.whitechapel.org/images/disappearer360h_0.jpg
Installation view at Whitechapel
Gallery




                                   “I wanted to undo the idea of minimalism as incorruptible, overlapping it
                                   with ideas of faith, death, magic, things that are all very messy in a way. I
                                   like the idea of corrupting, of scratching the pristine surface. It’s like the
                                   object tries to be itself but we bring something to it that changes it, a
                                   bizarre occultism. “

                                   Eva Rothschild
New Formalism? A Reactionary Turn?
“Why is that whilst the world
outside spirals in ever tighter
circles of terror and repression,
and the potential avenues of
avoidance or resistance become
squeezed by the growing
dominance of capital and its civil
and military bulldogs, artists
retreat further into a hermetic
world of abstraction, formalism,
deferred meanings and latent
spiritualism?”

Nick Evans
Tired of the Soup d’Jour?
Variant
                                     EVA ROTHSCHILD

                                     Early Learning, 2002
Tom OʼSullivan and Joanne Tatham
                                   40
41
• “Such art can only really be appreciated by
  those involved intimately with its production
  and reception. It encourages true cultural
  commitment, mitigates against larger
  audiences and provides few points of access
  for curators who need to fulfil educational
  programmes”

  Neil Mulholland
                                          42
Decadence?




Liza Lou - White Cube 2006
Laura Owens

Fred Tomaselli
Inka Essenhigh
Beatriz Milhazes
The Subjectivity of Beauty or the
        Tyranny of Good Taste

• “The things that seem beautiful, inspiring
  and life-affirming to me, seem ugly, hateful
  and ludicrous to most other people.”

•
    Pat Califia, Macho Sluts
Matthew Ritchie
Martin Kippenberger
Keith Tyson
Lucy McKenzie
John Russell




 •   THE ARTIST PRESENTS THE SPECTACLE OF FOUR TEN BY THIRTY-FIVE FEET BACK-LIT
     TABLEAUX, DIGITALLY PRINTED ON VINYL, DEPICTING SCENES OF PEOPLE STANDING IN A
     SEDUCTIVE AND INFINITE OCEAN IN THE THROES OF ECSTASY. These are people SAYING ʻYESʼ TO
     LIFE – CAUGHT IN THE THRALL OF THE EVENT AND SPREADING THEIR DESIRE THROUGHOUT
     THE WORLD LIKE A CONTAGION. It may be unclear whether these poses are the result of ʻFREE WILLʼ or
     whether they are fixed as narrative or compositional elements within a wider ʻphilosophical context,ʼ but in
     fact these questions are subsidiary to the performative or ILLOCUTIONARY FORCE of the works as the
     staging of a staging, or PRESENTATION OF A PRESENTATION. A SELF-ARTICULATION OF THE
     FICTION OF AN ARTWORK-AS-EVENT-AS-PROPHECY-AND/OR CURSE OF THE UNLEASHING OF
     THE POWER OF THE FALSE. In this respect the SHIMMERING SUN-SOAKED PLANE OF THE OCEAN is
     equivalent to the illuminated surface of the picture/object plane, both PITCHED SUPERFICIALLY AT THE
     SURFACE OF THINGS as an absolute (abstract/virtual) flatness – an incorporeal realm where the forms,
     passions, shapes and rhythms of this flatness might slip and explode as ideas, shapes, states of affairs,
     bodies and forces in the real world, FROM WHICH THEY ARE ANYWAY NOT SEPARATED.
                                                                                                   55
56
57
Purity and decadence
Purity and decadence
Purity and decadence

More Related Content

What's hot

Consumer culture
Consumer cultureConsumer culture
Consumer cultureDeborahJ
 
Arts Presentation for ToK 2
Arts Presentation for ToK 2Arts Presentation for ToK 2
Arts Presentation for ToK 2plangdale
 
Week 1 po mo intro 2012 (nx powerlite)
Week 1 po mo intro 2012 (nx powerlite)Week 1 po mo intro 2012 (nx powerlite)
Week 1 po mo intro 2012 (nx powerlite)DeborahJ
 
Week 9 Postmodernism: Artist as celebrity: Brit Art
Week 9 Postmodernism: Artist as celebrity: Brit ArtWeek 9 Postmodernism: Artist as celebrity: Brit Art
Week 9 Postmodernism: Artist as celebrity: Brit ArtDeborahJ
 
Pp Presentation Guide
Pp Presentation GuidePp Presentation Guide
Pp Presentation GuideZ Hoeben
 
Painting after technology
Painting after technologyPainting after technology
Painting after technologyMelanie_Powell
 
Cate S Why Is Modern Art So Popular Multigenre Project Fall 2014 (Rust)
Cate S Why Is Modern Art So Popular Multigenre Project Fall 2014 (Rust)Cate S Why Is Modern Art So Popular Multigenre Project Fall 2014 (Rust)
Cate S Why Is Modern Art So Popular Multigenre Project Fall 2014 (Rust)Buffy Hamilton
 
Where does art criticism come from
Where does art criticism come fromWhere does art criticism come from
Where does art criticism come fromcharlottefrost
 

What's hot (17)

Consumer culture
Consumer cultureConsumer culture
Consumer culture
 
Art apprec ch1 3
Art apprec ch1 3Art apprec ch1 3
Art apprec ch1 3
 
Art:knowledge
Art:knowledgeArt:knowledge
Art:knowledge
 
Art History
Art HistoryArt History
Art History
 
Avant garde
Avant gardeAvant garde
Avant garde
 
Arts Presentation for ToK 2
Arts Presentation for ToK 2Arts Presentation for ToK 2
Arts Presentation for ToK 2
 
Painting with light
Painting with lightPainting with light
Painting with light
 
The arts and theory of knowledge
The arts and theory of knowledgeThe arts and theory of knowledge
The arts and theory of knowledge
 
Week 1 po mo intro 2012 (nx powerlite)
Week 1 po mo intro 2012 (nx powerlite)Week 1 po mo intro 2012 (nx powerlite)
Week 1 po mo intro 2012 (nx powerlite)
 
dissertation
dissertationdissertation
dissertation
 
Week 9 Postmodernism: Artist as celebrity: Brit Art
Week 9 Postmodernism: Artist as celebrity: Brit ArtWeek 9 Postmodernism: Artist as celebrity: Brit Art
Week 9 Postmodernism: Artist as celebrity: Brit Art
 
Research Paper
Research PaperResearch Paper
Research Paper
 
Pp Presentation Guide
Pp Presentation GuidePp Presentation Guide
Pp Presentation Guide
 
Painting after technology
Painting after technologyPainting after technology
Painting after technology
 
Cate S Why Is Modern Art So Popular Multigenre Project Fall 2014 (Rust)
Cate S Why Is Modern Art So Popular Multigenre Project Fall 2014 (Rust)Cate S Why Is Modern Art So Popular Multigenre Project Fall 2014 (Rust)
Cate S Why Is Modern Art So Popular Multigenre Project Fall 2014 (Rust)
 
Postmodernism
PostmodernismPostmodernism
Postmodernism
 
Where does art criticism come from
Where does art criticism come fromWhere does art criticism come from
Where does art criticism come from
 

Similar to Purity and decadence (17)

Form
FormForm
Form
 
End of modernism
End of modernismEnd of modernism
End of modernism
 
Perform
PerformPerform
Perform
 
Photography
PhotographyPhotography
Photography
 
Everyday
EverydayEveryday
Everyday
 
Aesthetics
AestheticsAesthetics
Aesthetics
 
Contemporary Art Essay
Contemporary Art EssayContemporary Art Essay
Contemporary Art Essay
 
conceptual art final.pptx
conceptual art final.pptxconceptual art final.pptx
conceptual art final.pptx
 
Creationism, A new state of consciousness
Creationism, A new state of consciousnessCreationism, A new state of consciousness
Creationism, A new state of consciousness
 
Introduction to cubism
Introduction to cubismIntroduction to cubism
Introduction to cubism
 
Art Essays Examples
Art Essays ExamplesArt Essays Examples
Art Essays Examples
 
Characteristics Of Lowbrow Art
Characteristics Of Lowbrow ArtCharacteristics Of Lowbrow Art
Characteristics Of Lowbrow Art
 
Minimalism - An Aesthetic Return to Peculiar Nature in Hong Kong Art Circuit
Minimalism - An Aesthetic Return to Peculiar Nature in Hong Kong Art CircuitMinimalism - An Aesthetic Return to Peculiar Nature in Hong Kong Art Circuit
Minimalism - An Aesthetic Return to Peculiar Nature in Hong Kong Art Circuit
 
Humanities 101 Art Appreciation
Humanities 101 Art AppreciationHumanities 101 Art Appreciation
Humanities 101 Art Appreciation
 
The Language Of Contemporary Art
The Language Of Contemporary ArtThe Language Of Contemporary Art
The Language Of Contemporary Art
 
Week1 Art or Not
Week1 Art or NotWeek1 Art or Not
Week1 Art or Not
 
Sweet Kitsch
Sweet KitschSweet Kitsch
Sweet Kitsch
 

Recently uploaded

ClimART Action | eTwinning Project
ClimART Action    |    eTwinning ProjectClimART Action    |    eTwinning Project
ClimART Action | eTwinning Projectjordimapav
 
Blowin' in the Wind of Caste_ Bob Dylan's Song as a Catalyst for Social Justi...
Blowin' in the Wind of Caste_ Bob Dylan's Song as a Catalyst for Social Justi...Blowin' in the Wind of Caste_ Bob Dylan's Song as a Catalyst for Social Justi...
Blowin' in the Wind of Caste_ Bob Dylan's Song as a Catalyst for Social Justi...DhatriParmar
 
4.16.24 21st Century Movements for Black Lives.pptx
4.16.24 21st Century Movements for Black Lives.pptx4.16.24 21st Century Movements for Black Lives.pptx
4.16.24 21st Century Movements for Black Lives.pptxmary850239
 
Using Grammatical Signals Suitable to Patterns of Idea Development
Using Grammatical Signals Suitable to Patterns of Idea DevelopmentUsing Grammatical Signals Suitable to Patterns of Idea Development
Using Grammatical Signals Suitable to Patterns of Idea Developmentchesterberbo7
 
Daily Lesson Plan in Mathematics Quarter 4
Daily Lesson Plan in Mathematics Quarter 4Daily Lesson Plan in Mathematics Quarter 4
Daily Lesson Plan in Mathematics Quarter 4JOYLYNSAMANIEGO
 
MS4 level being good citizen -imperative- (1) (1).pdf
MS4 level   being good citizen -imperative- (1) (1).pdfMS4 level   being good citizen -imperative- (1) (1).pdf
MS4 level being good citizen -imperative- (1) (1).pdfMr Bounab Samir
 
4.9.24 School Desegregation in Boston.pptx
4.9.24 School Desegregation in Boston.pptx4.9.24 School Desegregation in Boston.pptx
4.9.24 School Desegregation in Boston.pptxmary850239
 
ICS2208 Lecture6 Notes for SL spaces.pdf
ICS2208 Lecture6 Notes for SL spaces.pdfICS2208 Lecture6 Notes for SL spaces.pdf
ICS2208 Lecture6 Notes for SL spaces.pdfVanessa Camilleri
 
Active Learning Strategies (in short ALS).pdf
Active Learning Strategies (in short ALS).pdfActive Learning Strategies (in short ALS).pdf
Active Learning Strategies (in short ALS).pdfPatidar M
 
BIOCHEMISTRY-CARBOHYDRATE METABOLISM CHAPTER 2.pptx
BIOCHEMISTRY-CARBOHYDRATE METABOLISM CHAPTER 2.pptxBIOCHEMISTRY-CARBOHYDRATE METABOLISM CHAPTER 2.pptx
BIOCHEMISTRY-CARBOHYDRATE METABOLISM CHAPTER 2.pptxSayali Powar
 
Mythology Quiz-4th April 2024, Quiz Club NITW
Mythology Quiz-4th April 2024, Quiz Club NITWMythology Quiz-4th April 2024, Quiz Club NITW
Mythology Quiz-4th April 2024, Quiz Club NITWQuiz Club NITW
 
Indexing Structures in Database Management system.pdf
Indexing Structures in Database Management system.pdfIndexing Structures in Database Management system.pdf
Indexing Structures in Database Management system.pdfChristalin Nelson
 
Reading and Writing Skills 11 quarter 4 melc 1
Reading and Writing Skills 11 quarter 4 melc 1Reading and Writing Skills 11 quarter 4 melc 1
Reading and Writing Skills 11 quarter 4 melc 1GloryAnnCastre1
 
CHEST Proprioceptive neuromuscular facilitation.pptx
CHEST Proprioceptive neuromuscular facilitation.pptxCHEST Proprioceptive neuromuscular facilitation.pptx
CHEST Proprioceptive neuromuscular facilitation.pptxAneriPatwari
 
Narcotic and Non Narcotic Analgesic..pdf
Narcotic and Non Narcotic Analgesic..pdfNarcotic and Non Narcotic Analgesic..pdf
Narcotic and Non Narcotic Analgesic..pdfPrerana Jadhav
 
Unraveling Hypertext_ Analyzing Postmodern Elements in Literature.pptx
Unraveling Hypertext_ Analyzing  Postmodern Elements in  Literature.pptxUnraveling Hypertext_ Analyzing  Postmodern Elements in  Literature.pptx
Unraveling Hypertext_ Analyzing Postmodern Elements in Literature.pptxDhatriParmar
 
31 ĐỀ THI THỬ VÀO LỚP 10 - TIẾNG ANH - FORM MỚI 2025 - 40 CÂU HỎI - BÙI VĂN V...
31 ĐỀ THI THỬ VÀO LỚP 10 - TIẾNG ANH - FORM MỚI 2025 - 40 CÂU HỎI - BÙI VĂN V...31 ĐỀ THI THỬ VÀO LỚP 10 - TIẾNG ANH - FORM MỚI 2025 - 40 CÂU HỎI - BÙI VĂN V...
31 ĐỀ THI THỬ VÀO LỚP 10 - TIẾNG ANH - FORM MỚI 2025 - 40 CÂU HỎI - BÙI VĂN V...Nguyen Thanh Tu Collection
 
4.11.24 Mass Incarceration and the New Jim Crow.pptx
4.11.24 Mass Incarceration and the New Jim Crow.pptx4.11.24 Mass Incarceration and the New Jim Crow.pptx
4.11.24 Mass Incarceration and the New Jim Crow.pptxmary850239
 

Recently uploaded (20)

ClimART Action | eTwinning Project
ClimART Action    |    eTwinning ProjectClimART Action    |    eTwinning Project
ClimART Action | eTwinning Project
 
Blowin' in the Wind of Caste_ Bob Dylan's Song as a Catalyst for Social Justi...
Blowin' in the Wind of Caste_ Bob Dylan's Song as a Catalyst for Social Justi...Blowin' in the Wind of Caste_ Bob Dylan's Song as a Catalyst for Social Justi...
Blowin' in the Wind of Caste_ Bob Dylan's Song as a Catalyst for Social Justi...
 
4.16.24 21st Century Movements for Black Lives.pptx
4.16.24 21st Century Movements for Black Lives.pptx4.16.24 21st Century Movements for Black Lives.pptx
4.16.24 21st Century Movements for Black Lives.pptx
 
Using Grammatical Signals Suitable to Patterns of Idea Development
Using Grammatical Signals Suitable to Patterns of Idea DevelopmentUsing Grammatical Signals Suitable to Patterns of Idea Development
Using Grammatical Signals Suitable to Patterns of Idea Development
 
Daily Lesson Plan in Mathematics Quarter 4
Daily Lesson Plan in Mathematics Quarter 4Daily Lesson Plan in Mathematics Quarter 4
Daily Lesson Plan in Mathematics Quarter 4
 
MS4 level being good citizen -imperative- (1) (1).pdf
MS4 level   being good citizen -imperative- (1) (1).pdfMS4 level   being good citizen -imperative- (1) (1).pdf
MS4 level being good citizen -imperative- (1) (1).pdf
 
4.9.24 School Desegregation in Boston.pptx
4.9.24 School Desegregation in Boston.pptx4.9.24 School Desegregation in Boston.pptx
4.9.24 School Desegregation in Boston.pptx
 
ICS2208 Lecture6 Notes for SL spaces.pdf
ICS2208 Lecture6 Notes for SL spaces.pdfICS2208 Lecture6 Notes for SL spaces.pdf
ICS2208 Lecture6 Notes for SL spaces.pdf
 
Active Learning Strategies (in short ALS).pdf
Active Learning Strategies (in short ALS).pdfActive Learning Strategies (in short ALS).pdf
Active Learning Strategies (in short ALS).pdf
 
BIOCHEMISTRY-CARBOHYDRATE METABOLISM CHAPTER 2.pptx
BIOCHEMISTRY-CARBOHYDRATE METABOLISM CHAPTER 2.pptxBIOCHEMISTRY-CARBOHYDRATE METABOLISM CHAPTER 2.pptx
BIOCHEMISTRY-CARBOHYDRATE METABOLISM CHAPTER 2.pptx
 
Mythology Quiz-4th April 2024, Quiz Club NITW
Mythology Quiz-4th April 2024, Quiz Club NITWMythology Quiz-4th April 2024, Quiz Club NITW
Mythology Quiz-4th April 2024, Quiz Club NITW
 
Indexing Structures in Database Management system.pdf
Indexing Structures in Database Management system.pdfIndexing Structures in Database Management system.pdf
Indexing Structures in Database Management system.pdf
 
Reading and Writing Skills 11 quarter 4 melc 1
Reading and Writing Skills 11 quarter 4 melc 1Reading and Writing Skills 11 quarter 4 melc 1
Reading and Writing Skills 11 quarter 4 melc 1
 
CHEST Proprioceptive neuromuscular facilitation.pptx
CHEST Proprioceptive neuromuscular facilitation.pptxCHEST Proprioceptive neuromuscular facilitation.pptx
CHEST Proprioceptive neuromuscular facilitation.pptx
 
Narcotic and Non Narcotic Analgesic..pdf
Narcotic and Non Narcotic Analgesic..pdfNarcotic and Non Narcotic Analgesic..pdf
Narcotic and Non Narcotic Analgesic..pdf
 
Paradigm shift in nursing research by RS MEHTA
Paradigm shift in nursing research by RS MEHTAParadigm shift in nursing research by RS MEHTA
Paradigm shift in nursing research by RS MEHTA
 
Unraveling Hypertext_ Analyzing Postmodern Elements in Literature.pptx
Unraveling Hypertext_ Analyzing  Postmodern Elements in  Literature.pptxUnraveling Hypertext_ Analyzing  Postmodern Elements in  Literature.pptx
Unraveling Hypertext_ Analyzing Postmodern Elements in Literature.pptx
 
INCLUSIVE EDUCATION PRACTICES FOR TEACHERS AND TRAINERS.pptx
INCLUSIVE EDUCATION PRACTICES FOR TEACHERS AND TRAINERS.pptxINCLUSIVE EDUCATION PRACTICES FOR TEACHERS AND TRAINERS.pptx
INCLUSIVE EDUCATION PRACTICES FOR TEACHERS AND TRAINERS.pptx
 
31 ĐỀ THI THỬ VÀO LỚP 10 - TIẾNG ANH - FORM MỚI 2025 - 40 CÂU HỎI - BÙI VĂN V...
31 ĐỀ THI THỬ VÀO LỚP 10 - TIẾNG ANH - FORM MỚI 2025 - 40 CÂU HỎI - BÙI VĂN V...31 ĐỀ THI THỬ VÀO LỚP 10 - TIẾNG ANH - FORM MỚI 2025 - 40 CÂU HỎI - BÙI VĂN V...
31 ĐỀ THI THỬ VÀO LỚP 10 - TIẾNG ANH - FORM MỚI 2025 - 40 CÂU HỎI - BÙI VĂN V...
 
4.11.24 Mass Incarceration and the New Jim Crow.pptx
4.11.24 Mass Incarceration and the New Jim Crow.pptx4.11.24 Mass Incarceration and the New Jim Crow.pptx
4.11.24 Mass Incarceration and the New Jim Crow.pptx
 

Purity and decadence

  • 1. “Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, “and what is the use of a book”, thought Alice, “without pictures or conversations?”
  • 2. Purity and Decadence Idea art, chi chi conceptualism, ikea art ‘versus’ form, colour, visual pleasure... A phoney opposition?
  • 3. “Should art be concerned with (and preserve at all costs) its own specialised laws, issues and competencies and address an elevated elite public, actual or ideal? For some, this preserves the Utopian vision of creative human expression untainted by kitsch or political doctrine; for others, it maintains an insulated, socially exclusive and gendered art, with attendant discourse, which feeds the market in novel objects and provides state and corporate agencies with symbols to be used for whatever ideological reasons they wish. Alternatively, should art engage with the social and cultural world at large to give expression to those issues, controversies and interests that are stifled by dominant ideologies? For some this preserves the power of art to engage critically with what Baudelaire called ‘the transitory, the fugitive, the contingent of the present, in a way that addresses a constituency for whom culture has a broader social base; for others, this is naive, conscience wringing whine leading to bad art and special pleading. “ Francis Frascina 3
  • 4. “There is a danger in this rivalry of thinking that art which is not visually interesting must ipso facto be clever, or alternatively of discarding visually interesting art as being ipso facto not clever.“ Dave Beech Artmonthly
  • 5. 5
  • 6. Key features of Conceptual Art • The dematerialisation of the art object -anti optical - anti formal. Concept over Form. • Resistance to the art market / to corporate buying power. Critique of the institutions of art (museums, critics, dealers) • Investigation of the status of the art object - the ontology of art -art that didn’t look like art. • A rejection of the myths of modernism - especially in relation to ideas of expression, Reading Position for Second Degree Burn, authenticity (see collaborative practice) 1970, Jones Beach, New York, Duration of Exposure: 5 hours. Dennis Oppenheim, • New mediums - the embrace of non 1970-1974. conventional forms for artistic communication - text, photography, video, performance- the search for more democratic forms of communicating. • A questioning of the social role of the artist - artists no longer mute doers. • A re-imagining of the role of the spectator - a shift from a passive consumer of aesthetic objects- to an active reader and interpreter
  • 7. The ontology of art The Conceptual artist Joseph Kosuth remarked that the ‘purest’ definition of conceptual art would be that it is an inquiry into the foundations of the concept ‘art’. John Baldessari ‘What is Painting’ 1968
  • 8. “Art doesn’t require being able to draw, or being able to paint well or know colours, it doesn’t require any of those specific things that are in the discipline, to be interesting” Bruce Nauman
  • 9. Anti Aesthetic - Anti Object
  • 10. The New Spirit in Painting Royal Academy (1981) Sean Scully Paul 1984 “Schnabel had rediscovered the joy in art” New Spirit in Painting Catalogue
  • 11.
  • 12. 12
  • 13. Neo Conceptualism (1990-98) Artists react against what is seen as the parochial, out dated conservative appearance, tone and values of the British art world. Conceptualism has a pure, ‘international’ style. A generation of younger artists, specifically in London at Goldsmith’s college and in Glasgow at GSA ‘rediscover’ (copy, appropriate or repackage) the work of first generation conceptual artist from the late 1960’s and 70’s. Partly this shift is stylistic (black and white, minimalism devoid of signs of the hand or ‘touch’) . It also asserts the primacy of the idea, for some, at the expense of the form or material. Unlike first generation (60’s and 70’s) conceptualists, these artists were keen to transport ‘idea art’ into the everyday.
  • 17.
  • 18. Damien Hirst The Asthmatic Escaped II, 1992 Glass, metal, camera on tripod, shoes, clothing, film, saucer, plastic cup and lid, candy bar, and inhaler 87 x 168 1/4 x 83 3/4 in. (221.0 x 427.4 x 212.7 cm.)
  • 19. Glasgow Neo-Conceptualism Key Artists: Douglas Gordon Christine Borland Roderick Buchanan Jacqueline Donachie
  • 21. Socially Engaged? Work in Progress1995 The men in 'Work in Progress' are wearing either Inter Milan or AC Milan football team shirts. The type of portrait is familiar from football publicity photographs, where the players stare Roderick Buchanan ahead with their arms held behind their backs. However, instead of being Italian sportsmen, the players are from amateur five-a- side Glasgow teams. Their separation into two sets alludes to the need of individuals to lend themselves a separate identity, while at the same time maintaining common bonds of knowledge and agreed opinion. The implied rivalry echoes the competition between the two Glasgow football teams, Rangers and Celtic. National Gallery of Scotland
  • 22. Criticisms of - reaction against ‘idea’ art “Today we have nominal triggers for regurgitating arguments better rehearsed elsewhere, which are neither illuminated nor in any sense present within the work. This is work that is essentially literary. Work that repels the senses and takes us off to the library. The press release is the pitch, is the interpretation, is the whole work ready to be phoned around the world. Art that in deconstructive logic is a footnote to the text which justifies its existence. “ Christine Borland Mark Wallinger “Fool Britannia: not new , not clever, not funny”
  • 23. The lost radicalism • ’Saatchi’s taste is very much for art that looks like advertisments, and who -except an adman -would want to own one of them?” Julian Stallabrass High Art Lite pg. 201 • Idea art becomes ikea art -”you got to have a good idea” - the tyranny of the good idea • Fetish made of ‘being seen to be sharp and smart’ - chi chi conceptualism
  • 24. “People having been looking at work and saying that’s a nice idea. I really hate good ideas, why not write them down? “ Robert Johnston Untitled magazine
  • 25. “The only thing Neo Conceptualists share with Conceptualists is the use of the word conceptual.” Terry Atkinson
  • 26. The Idea is to Shock
  • 27.
  • 28.
  • 29. Paintings back! (again..) Did it ever go away? • Visual pleasure - return of the seductive, opulent, unashamed reveling in the pleasures of painting. • A reaction against the dominance of photographic, video, installation ‘idea’ based art, as well as the use of ready made and the lo fi • A desire to produce work that was resistant to easy incorporation with the machinery of the culture industry (educational workshops - too easily pitchable one liners)
  • 30. “Inevitably , the yba cult of personality became tired. .New artists and curators began looking elsewhere. Artists wanted to make art without anyone peering over their shoulders. They became enthusiastic about making things again. Art started to look like it was having more fun while artists remained serious in how they reflected their concerns… Cynicism was finally passe and the art star a bore..” Dick Price ‘Die Young Stay Pretty’ Martin Maloney
  • 31. Dan Perfect David Thorpe Daniel Coombes Chantal Joffe
  • 32. “In the art world, this new tendency has been seen largely for what it is: a cynical ploy, given the growing dissatisfaction with the antics of high art lite, to push the art market on in a direction that Saatchi can control” Julian Stallabrass Saatchi and Sensation ‘High Art Lite’
  • 33. Dave Hickey • Key texts “Air guitar” “The Invisible Dragon - Four Essays on Beauty” • A critique of the austere, censorious politically correct culture that has, for Hickey, engulfed American art since the early seventies. • Hickey’s writing aims to place questions of aesthetics - of visual pleasure, experience, fun and most importantly for him beauty, back on the agenda. • “A lanky graduate student had risen to his feet and was soliciting my opinion as to what “the issue of the Nineties” would be. Snatched from my reverie, I said, “Beauty”, and then more firmly. “the issue of the nineties will be beauty [..] the total, uncomprehending silence that greeted this modest proposal lent it immediate credence for me. “ (Enter the Dragon on the vernacular of Beauty pg. 11) • His essays aim to invoke a relationship to art based on enthusiasm and being a fan, rather than theoretical interpretation, critical deconstruction or a demonstration of arts social usefulness.
  • 34. • Theological nit picking and sensory deprivation “What is the good of music? What is the good of painting? There is nothing truly beautiful that can be used for anything; everything that is useful is ugly, for it is the expression of some need..The most useful room in a house is a latrine” Theophile Gautier (1811-72 Preface to Mademoiselle de Maupin)
  • 35. “The artist Renne Green has enumerated some current art world cliches exemplified by Hickey’s thinking: • Art is borderless • Thinking causes over seriousness and the deflation of fun and beauty, which are equated with aesthetic pleasure. • To think means to think too much,and is in conflict with expereincing (which is thought of in binary terms and is thus associated with feeling,i.e feeling/ experiencing vs. thinking). • Hickey strangely presumes that people - and educated art audiences in particular - cannot take pleasure in a demanding work, or a political work, or even a play of ideas” • Julian Stallabrass 35 • Art Incorporated
  • 36. • In his books he constantly alludes to his rich and cultured background, but systematically fails to see the connection between this socialisation within culture, and his subsequent feelings of being so at home within art. Instead of acknowledging that his sense of belonging is a cultural privilege, intrinsically linked to social inequalities within the broader culture, he turns it into a kind of magical gift. But, Hickey’s sense of belonging within culture is simply not available to everyone. In this respect he perfectly typifies Bourdieu’s remarks that the greatest mystifers are the most mystified. • 36
  • 37. Early One Morning Whitechapel Gallery London 06 July - 08 August 2002 Their work demonstrates a sensuous enjoyment of materials, which they activate in dynamic and unexpected configurations. Largely abstract in composition, their work reclaims beauty and pleasure, sampling from the formal strategies of Modernism at the same time as design, fashion, music and advertising. Their works can be spatial, tactile and riotously colourful. http://www.whitechapel.org/images/disappearer360h_0.jpg
  • 38. Installation view at Whitechapel Gallery “I wanted to undo the idea of minimalism as incorruptible, overlapping it with ideas of faith, death, magic, things that are all very messy in a way. I like the idea of corrupting, of scratching the pristine surface. It’s like the object tries to be itself but we bring something to it that changes it, a bizarre occultism. “ Eva Rothschild
  • 39. New Formalism? A Reactionary Turn? “Why is that whilst the world outside spirals in ever tighter circles of terror and repression, and the potential avenues of avoidance or resistance become squeezed by the growing dominance of capital and its civil and military bulldogs, artists retreat further into a hermetic world of abstraction, formalism, deferred meanings and latent spiritualism?” Nick Evans Tired of the Soup d’Jour? Variant EVA ROTHSCHILD Early Learning, 2002
  • 40. Tom OʼSullivan and Joanne Tatham 40
  • 41. 41
  • 42. • “Such art can only really be appreciated by those involved intimately with its production and reception. It encourages true cultural commitment, mitigates against larger audiences and provides few points of access for curators who need to fulfil educational programmes” Neil Mulholland 42
  • 43. Decadence? Liza Lou - White Cube 2006
  • 46. The Subjectivity of Beauty or the Tyranny of Good Taste • “The things that seem beautiful, inspiring and life-affirming to me, seem ugly, hateful and ludicrous to most other people.” • Pat Califia, Macho Sluts
  • 50.
  • 51.
  • 52.
  • 53.
  • 55. John Russell • THE ARTIST PRESENTS THE SPECTACLE OF FOUR TEN BY THIRTY-FIVE FEET BACK-LIT TABLEAUX, DIGITALLY PRINTED ON VINYL, DEPICTING SCENES OF PEOPLE STANDING IN A SEDUCTIVE AND INFINITE OCEAN IN THE THROES OF ECSTASY. These are people SAYING ʻYESʼ TO LIFE – CAUGHT IN THE THRALL OF THE EVENT AND SPREADING THEIR DESIRE THROUGHOUT THE WORLD LIKE A CONTAGION. It may be unclear whether these poses are the result of ʻFREE WILLʼ or whether they are fixed as narrative or compositional elements within a wider ʻphilosophical context,ʼ but in fact these questions are subsidiary to the performative or ILLOCUTIONARY FORCE of the works as the staging of a staging, or PRESENTATION OF A PRESENTATION. A SELF-ARTICULATION OF THE FICTION OF AN ARTWORK-AS-EVENT-AS-PROPHECY-AND/OR CURSE OF THE UNLEASHING OF THE POWER OF THE FALSE. In this respect the SHIMMERING SUN-SOAKED PLANE OF THE OCEAN is equivalent to the illuminated surface of the picture/object plane, both PITCHED SUPERFICIALLY AT THE SURFACE OF THINGS as an absolute (abstract/virtual) flatness – an incorporeal realm where the forms, passions, shapes and rhythms of this flatness might slip and explode as ideas, shapes, states of affairs, bodies and forces in the real world, FROM WHICH THEY ARE ANYWAY NOT SEPARATED. 55
  • 56. 56
  • 57. 57