The document discusses the emergence of "everyday art" in Britain in the 1990s. Artists during this period sought to engage directly with popular culture and the experiences of everyday life, rejecting the intellectual detachment of earlier postmodern art. Their work incorporated elements seen as lowbrow, vulgar or abject. This represented a critique of social structures and capitalist relations through a celebration of the ordinary and mundane. The work was also seen by some critics as "dumbing down" or being anti-intellectual through its embrace of popular culture.
This document discusses concepts related to high and low culture in art. It introduces terms like "avant-garde" and questions assumptions around concepts like originality, genius, and the notion of art for art's sake. It provides examples of artworks to illustrate different approaches like socially committed art versus art that seeks only to expand what art is. The document encourages questioning priorities in art education around innovation, experimentation, and originality.
Postmodernism emerged after World War II as a rejection of absolute truths and universal values. It emphasizes individual interpretations of reality and sees knowledge as culturally constructed rather than objectively determined. Postmodernism is reflected in popular culture through commodified cultural products that people consume to construct their social identities.
Alice was bored sitting by her sister and not having anything to do. She peeked at her sister's book but found it uninteresting without pictures or conversations. The document then discusses various debates around conceptual art including whether art should engage socially or focus on its own rules and forms. It provides summaries of key features and artists of conceptual art as well as criticisms and reactions against it. The summary discusses the return of painting and focus on aesthetics in reaction to dominant conceptual trends.
Life without buildings: Institutions and ObjectionsDeborahJ
The document discusses the shift in art from Modernism to postmodernism in the 1960s-70s. Modernism valued disembodied aesthetics and formalism, while postmodernism emphasized the social and political context of artworks. Artists began creating works that were site-specific, used everyday materials, and critiqued institutions like museums. This changed the role of the artist and relationship between art objects and their environments.
This document provides information about Portrait of America, a public art exhibition project by photographer Joe Standart. The project features large-scale portraits displayed across various cities, with the goal of celebrating community and promoting understanding. It summarizes the first exhibition in New London, Connecticut, transforming the city into an outdoor gallery. Future exhibitions are planned for Detroit, Hartford, Minneapolis, New Orleans, and Santa Barbara. The portraits depict a diverse range of individuals and aim to honor human dignity. The project brings art and community development together to enrich cultural experiences and public spaces.
The Sensation exhibition at the Brooklyn Museum of Art in 1999 featured controversial works that sparked intense debate. The exhibition included Marcus Harvey's portrait of Myra Hindley made from children's handprints and Chris Ofili's depiction of the Virgin Mary adorned with elephant dung. New York City Mayor Giuliani strongly condemned Ofili's work and threatened to cut funding to the museum if it was not removed. Supporters viewed the works as challenging art while critics saw them as disrespectful of religion. The media coverage intensified the controversy.
The document discusses the history and evolution of the avant-garde art movement. It begins by outlining some key features of modernist avant-garde art such as shocking/transgressive subject matter and an oppositional stance to social norms. It then examines how the avant-garde changed after World War 2 with the loss of its bourgeois enemy and the rise of popular culture. More recent incarnations of avant-garde, such as the works of Jeff Koons, Sylvie Fleury and Takashi Murakami, further blurred boundaries between art and commercial culture.
The document discusses three lessons from a humanities class on micro-lessons:
1) It asks who should be considered the artist for the Spiral Jetty - the designer Smithson or the builder Phillips. Both played important roles in its creation.
2) It discusses the controversy around the selection of Maya Lin's design for the Vietnam Veterans Memorial, which some felt was too abstract and mournful.
3) It briefly describes famous artistic rivalries between Leonardo da Vinci and Michelangelo, and Van Gogh and Gaugin, noting their disagreements and criticism of each other's work.
This document discusses concepts related to high and low culture in art. It introduces terms like "avant-garde" and questions assumptions around concepts like originality, genius, and the notion of art for art's sake. It provides examples of artworks to illustrate different approaches like socially committed art versus art that seeks only to expand what art is. The document encourages questioning priorities in art education around innovation, experimentation, and originality.
Postmodernism emerged after World War II as a rejection of absolute truths and universal values. It emphasizes individual interpretations of reality and sees knowledge as culturally constructed rather than objectively determined. Postmodernism is reflected in popular culture through commodified cultural products that people consume to construct their social identities.
Alice was bored sitting by her sister and not having anything to do. She peeked at her sister's book but found it uninteresting without pictures or conversations. The document then discusses various debates around conceptual art including whether art should engage socially or focus on its own rules and forms. It provides summaries of key features and artists of conceptual art as well as criticisms and reactions against it. The summary discusses the return of painting and focus on aesthetics in reaction to dominant conceptual trends.
Life without buildings: Institutions and ObjectionsDeborahJ
The document discusses the shift in art from Modernism to postmodernism in the 1960s-70s. Modernism valued disembodied aesthetics and formalism, while postmodernism emphasized the social and political context of artworks. Artists began creating works that were site-specific, used everyday materials, and critiqued institutions like museums. This changed the role of the artist and relationship between art objects and their environments.
This document provides information about Portrait of America, a public art exhibition project by photographer Joe Standart. The project features large-scale portraits displayed across various cities, with the goal of celebrating community and promoting understanding. It summarizes the first exhibition in New London, Connecticut, transforming the city into an outdoor gallery. Future exhibitions are planned for Detroit, Hartford, Minneapolis, New Orleans, and Santa Barbara. The portraits depict a diverse range of individuals and aim to honor human dignity. The project brings art and community development together to enrich cultural experiences and public spaces.
The Sensation exhibition at the Brooklyn Museum of Art in 1999 featured controversial works that sparked intense debate. The exhibition included Marcus Harvey's portrait of Myra Hindley made from children's handprints and Chris Ofili's depiction of the Virgin Mary adorned with elephant dung. New York City Mayor Giuliani strongly condemned Ofili's work and threatened to cut funding to the museum if it was not removed. Supporters viewed the works as challenging art while critics saw them as disrespectful of religion. The media coverage intensified the controversy.
The document discusses the history and evolution of the avant-garde art movement. It begins by outlining some key features of modernist avant-garde art such as shocking/transgressive subject matter and an oppositional stance to social norms. It then examines how the avant-garde changed after World War 2 with the loss of its bourgeois enemy and the rise of popular culture. More recent incarnations of avant-garde, such as the works of Jeff Koons, Sylvie Fleury and Takashi Murakami, further blurred boundaries between art and commercial culture.
The document discusses three lessons from a humanities class on micro-lessons:
1) It asks who should be considered the artist for the Spiral Jetty - the designer Smithson or the builder Phillips. Both played important roles in its creation.
2) It discusses the controversy around the selection of Maya Lin's design for the Vietnam Veterans Memorial, which some felt was too abstract and mournful.
3) It briefly describes famous artistic rivalries between Leonardo da Vinci and Michelangelo, and Van Gogh and Gaugin, noting their disagreements and criticism of each other's work.
The document discusses the history and development of performance art from the 1960s onwards. It explores how performance art moved the body out of the frame and into physical space, challenging passive spectatorship and notions of disembodied viewing. Many early performance artists used the body to confront issues like gender, sexuality, and political power through provocative and sometimes shocking acts.
The document provides information on European and American art movements after World War 2, including Existentialism, Abstract Expressionism, Pop Art, Minimalism, and the Beat generation. It includes brief descriptions of influential artists like Pollock, de Kooning, Warhol, Stella, and Ginsberg, as well as examples of their key works. Images and discussion questions are also included to illustrate the concepts.
When is art now? This lecture will focus on definitions of Contemporary Art that focus on the experience of 'time', comparing and contrasting them with theories of contemporary art that hold it to be a (sub)culture, a genre, a period, or a style.
What does it mean to state that art is contemporary rather than to hold that it is modern, prescient, traditional, nostalgic, postmodern, ancient...?
What concepts of time do people need to develop and share in order to understand the contemporary?
Where and how is the temporality of the contemporary situated?
This lecture will outline some of the key ways in which art theory has attempted to approach such questions by introducing a few key concepts such as: supercessionism, presentism, contemporaneity, anachrony, polychrony and chronopolitics.
To illustrate how this works in practice, the lecture will examine the chronopolitics of the 2012 Documenta and 2013 Venice Biennale.
This document provides an overview of several art history and theory course materials, including readings and discussion topics. It outlines the agenda for a class defining art, including debates around what constitutes art, where art is located, and competing theories of art's definition. Later weeks cover formal analysis, visual grammar, principles of design, and visual rhetoric. Examples of artworks and artists are referenced, such as the Mona Lisa, Duchamp, Warhol, Muniz, and discussions of prestige and the art world. The case of folk art is also introduced through the works of Pippin, Hampton, and Finster.
This document discusses various theories of art and the artworld through references to many artworks and thinkers. It examines institutional theories proposed by Arthur Danto, George Dickie, Nelson Goodman, and others which view art as defined by social conventions and institutions rather than inherent qualities. It also addresses debates around what constitutes an institution and how artworks act as world-makers. The document poses open questions about the nature and boundaries of art.
The document discusses Post-Minimalist artist Lynda Benglis and her critiques of Minimalism through her sculptures using poured latex and other materials. It notes that Benglis used industrial techniques coded as masculine but created soft, melting forms rather than rigid structures. Her works referenced Minimalist artists like Carl Andre but with malleable materials and invited sexual associations where Minimalism was austere. The document also provides biographical information on Eva Hesse and how her organic, hanging sculptures have been interpreted as a feminist critique of Minimalism's rigid forms.
The document discusses the development of site-specific and earthworks art in the late 1960s and early 1970s. It highlights Robert Smithson's Spiral Jetty (1969-1970) as a seminal work, describing its construction and how it introduced concepts of entropy and an anti-monumental approach. The document also covers the related works of Nancy Holt, James Turrell, and Andy Goldsworthy during this period focused on site-specific and earthworks art.
The scene inside abstract expressionism & jackson pollockProfWillAdams
The document discusses Abstract Expressionism and its key figures like Jackson Pollock. It summarizes the movement's origins and influences, which included European modern art styles, surrealism, psychoanalysis, and American and Mexican artists. Abstract Expressionism focused on non-representational, emotional expression through techniques like action painting and color field painting. Key influences included surrealist automatism, Hans Hofmann's teachings, and existentialist philosophy.
The document discusses several contemporary artists from 1990-2000 including Felix Gonzalez-Torres, Mark Dion, Rachel Whiteread, and William Kentridge. It provides background information on their works, artistic strategies and themes relating to identity politics, institutional critique, the abject body, drawing and erasure techniques. Specific works mentioned include Gonzalez-Torres's candies installations, Dion's mixed media pieces, Whiteread's concrete casting of a house, and Kentridge's animated charcoal drawings.
Minimalism emerged in the 1960s as a reaction against Abstract Expressionism. It shifted the focus from painting to sculpture made from industrial materials and simple geometric forms. Key artists included Frank Stella, Donald Judd, Robert Morris, and Carl Andre, who aimed to remove all traces of individual expression and emotion from their works. Minimalist art emphasized objective forms and impersonal fabrication over subjective composition. It reflected broader aims of the Modernist pursuit of purity and self-referentiality in art.
Week 9 Postmodernism: Artist as celebrity: Brit ArtDeborahJ
This document provides an overview of postmodernism in art, focusing on the rise of the "artist as celebrity" phenomenon among Young British Artists (yBAs) in the 1990s. It explores how yBa artists like Damien Hirst and Tracey Emin embraced consumerism and commercialism by using self-branding strategies. Their use of personas and courting of mass media attention made them art world stars. However, critics argue this prioritized artists' celebrity over the artistic merit of their work. The document also examines debates around whether their art was merely aiming for popularity over theoretical substance.
The document discusses several contemporary artists and their works that address current social and political issues. Tim Noble and Sue Webster create sculptures out of trash that address themes of consumerism. Chris Goodwin uses found trash to tell stories and comment on waste. Takashi Murakami blends pop and commercial art. Jeff Koons' work examines consumer culture. Duane Hanson created extremely realistic sculptures that held a mirror to society. Judy Chicago's The Dinner Party brought attention to women's history and roles. Kara Walker uses silhouettes to depict slavery in a thought-provoking way. Kako Ueda uses paper to represent the natural and cultural influences on human and other organisms. Jenny Holzer is known for her "truisms
This document summarizes major artistic developments and movements from the mid-20th century onwards. It discusses Neo-Dadaism, Minimalism, Pop Art, Photo-Realism, Superrealism, and Neo-Expressionism. Key artists mentioned include Robert Rauschenberg, Jasper Johns, Claes Oldenburg, Andy Warhol, Richard Estes, Chuck Close, Duane Hanson, and George Segal. It also provides background historical context and describes the mediums and methods used by these influential artists.
Pop art emerged in the 1950s in England when a group of artists called The Independent Group began celebrating mass-produced popular culture like advertising, films, and music instead of rejecting it. Eduardo Paolozzi and Richard Hamilton are considered the fathers of British pop art, with Paolozzi making collages from comics and magazines in 1947. By the 1960s, a pop art movement was underway in America as well, centered in New York. Artists like Andy Warhol, Roy Lichtenstein, and James Rosenquist began creating work reflecting American culture and consumerism as a new way to make art relevant to modern experiences. Pop art had a huge influence in changing how people view everyday objects as aesthetically beautiful things in our lives
This document provides an introduction to the course "Postmodernism in Art" taught at the University of Edinburgh. It discusses key concepts needed to understand postmodernism such as modernity, modernism, and Clement Greenberg's formalism. It outlines how postmodernism emerged in the 1960s through movements like Pop Art, Minimalism, and Conceptualism. The document also examines debates around defining postmodernism and discusses how postmodern art questions aspects of modernism like artistic purity and the separation of art from everyday life.
This document provides an overview of how artists have depicted and explored concepts of the body, gender, and identity. It discusses how notions of beauty have varied across cultures and eras. Artists like Cindy Sherman, Andy Warhol, and Richard Prince examined how gender and male identities are socially constructed. The document also explores how some artists have challenged assumptions through techniques like cross-dressing and assuming different personae. Overall, the document examines the complex relationships between biology, gender, and constructed identities as portrayed in art over time.
This document discusses cultural and racial identity as expressed through art. It covers topics like nationalism and how art was used to construct national identities in Europe, America, China, and Japan. It also discusses how class and racial identities were depicted in works like Cliff Dwellers, Bal du Moulin de la Galette, and Aspiration. Racial identity for African Americans is discussed in relation to the Great Migration and works by Jacob Lawrence and Aaron Douglas that depicted this period.
How Art Works: Week 5 The Rise of the ismsDeborahJ
This lecture will:
Examine how artists sought to find a language that would adequately express the changes and disruptions associated with modern life
Attempt to capture the dialectical relationship between each movement and its predecessors
Make connections between historical events and art genres
Encouraged you to think of styles as useful tools for exploration and analysis, rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea
This document provides an overview of chapter 22 from the textbook "World of Art" by Henry M. Sayre. It discusses various ways that different cultures have depicted and understood the human life cycle and concepts of birth, youth, aging, death, and the afterlife through art. Specific examples discussed include Moche pottery depicting birth, Leonardo da Vinci's anatomical drawings of embryos, Tibetan Thangka paintings representing the Wheel of Life, and Egyptian pyramids and burial practices reflecting beliefs in the afterlife. The document also summarizes artworks reflecting on mortality from different time periods and cultures.
Minimalism emerged in the 1960s as both an extension of and reaction against modernist art. It embraced industrial materials and serial production techniques, rejecting a focus on individual craft. Minimalist works displayed no signs of the artist's touch, instead prioritizing the viewer's experience of the physical object in space over visual expression. While some saw it as replicating an alienating capitalist aesthetic, minimalism shifted the role of the viewer in important ways. Conceptual art further developed these ideas by emphasizing ideas and language over finished objects, challenging notions of what constitutes a work of art. Both movements reflected broader social and political critiques of the postwar era.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
The document discusses the evolving concept of the artist from pre-modern to modern times. Prior to the Renaissance, artists were seen as anonymous craftsmen fulfilling commissions from patrons. In the Renaissance, artists had more independence but were still constrained by contracts. The modern concept of the unique, individual artist emerged in the 19th century with Romanticism. This saw the artist as a troubled genius existing outside of society. In the 20th century, postmodern and conceptual art challenged the notion of the singular artistic author/genius through ideas like collaboration, appropriation, and deconstruction.
The document discusses the history and development of performance art from the 1960s onwards. It explores how performance art moved the body out of the frame and into physical space, challenging passive spectatorship and notions of disembodied viewing. Many early performance artists used the body to confront issues like gender, sexuality, and political power through provocative and sometimes shocking acts.
The document provides information on European and American art movements after World War 2, including Existentialism, Abstract Expressionism, Pop Art, Minimalism, and the Beat generation. It includes brief descriptions of influential artists like Pollock, de Kooning, Warhol, Stella, and Ginsberg, as well as examples of their key works. Images and discussion questions are also included to illustrate the concepts.
When is art now? This lecture will focus on definitions of Contemporary Art that focus on the experience of 'time', comparing and contrasting them with theories of contemporary art that hold it to be a (sub)culture, a genre, a period, or a style.
What does it mean to state that art is contemporary rather than to hold that it is modern, prescient, traditional, nostalgic, postmodern, ancient...?
What concepts of time do people need to develop and share in order to understand the contemporary?
Where and how is the temporality of the contemporary situated?
This lecture will outline some of the key ways in which art theory has attempted to approach such questions by introducing a few key concepts such as: supercessionism, presentism, contemporaneity, anachrony, polychrony and chronopolitics.
To illustrate how this works in practice, the lecture will examine the chronopolitics of the 2012 Documenta and 2013 Venice Biennale.
This document provides an overview of several art history and theory course materials, including readings and discussion topics. It outlines the agenda for a class defining art, including debates around what constitutes art, where art is located, and competing theories of art's definition. Later weeks cover formal analysis, visual grammar, principles of design, and visual rhetoric. Examples of artworks and artists are referenced, such as the Mona Lisa, Duchamp, Warhol, Muniz, and discussions of prestige and the art world. The case of folk art is also introduced through the works of Pippin, Hampton, and Finster.
This document discusses various theories of art and the artworld through references to many artworks and thinkers. It examines institutional theories proposed by Arthur Danto, George Dickie, Nelson Goodman, and others which view art as defined by social conventions and institutions rather than inherent qualities. It also addresses debates around what constitutes an institution and how artworks act as world-makers. The document poses open questions about the nature and boundaries of art.
The document discusses Post-Minimalist artist Lynda Benglis and her critiques of Minimalism through her sculptures using poured latex and other materials. It notes that Benglis used industrial techniques coded as masculine but created soft, melting forms rather than rigid structures. Her works referenced Minimalist artists like Carl Andre but with malleable materials and invited sexual associations where Minimalism was austere. The document also provides biographical information on Eva Hesse and how her organic, hanging sculptures have been interpreted as a feminist critique of Minimalism's rigid forms.
The document discusses the development of site-specific and earthworks art in the late 1960s and early 1970s. It highlights Robert Smithson's Spiral Jetty (1969-1970) as a seminal work, describing its construction and how it introduced concepts of entropy and an anti-monumental approach. The document also covers the related works of Nancy Holt, James Turrell, and Andy Goldsworthy during this period focused on site-specific and earthworks art.
The scene inside abstract expressionism & jackson pollockProfWillAdams
The document discusses Abstract Expressionism and its key figures like Jackson Pollock. It summarizes the movement's origins and influences, which included European modern art styles, surrealism, psychoanalysis, and American and Mexican artists. Abstract Expressionism focused on non-representational, emotional expression through techniques like action painting and color field painting. Key influences included surrealist automatism, Hans Hofmann's teachings, and existentialist philosophy.
The document discusses several contemporary artists from 1990-2000 including Felix Gonzalez-Torres, Mark Dion, Rachel Whiteread, and William Kentridge. It provides background information on their works, artistic strategies and themes relating to identity politics, institutional critique, the abject body, drawing and erasure techniques. Specific works mentioned include Gonzalez-Torres's candies installations, Dion's mixed media pieces, Whiteread's concrete casting of a house, and Kentridge's animated charcoal drawings.
Minimalism emerged in the 1960s as a reaction against Abstract Expressionism. It shifted the focus from painting to sculpture made from industrial materials and simple geometric forms. Key artists included Frank Stella, Donald Judd, Robert Morris, and Carl Andre, who aimed to remove all traces of individual expression and emotion from their works. Minimalist art emphasized objective forms and impersonal fabrication over subjective composition. It reflected broader aims of the Modernist pursuit of purity and self-referentiality in art.
Week 9 Postmodernism: Artist as celebrity: Brit ArtDeborahJ
This document provides an overview of postmodernism in art, focusing on the rise of the "artist as celebrity" phenomenon among Young British Artists (yBAs) in the 1990s. It explores how yBa artists like Damien Hirst and Tracey Emin embraced consumerism and commercialism by using self-branding strategies. Their use of personas and courting of mass media attention made them art world stars. However, critics argue this prioritized artists' celebrity over the artistic merit of their work. The document also examines debates around whether their art was merely aiming for popularity over theoretical substance.
The document discusses several contemporary artists and their works that address current social and political issues. Tim Noble and Sue Webster create sculptures out of trash that address themes of consumerism. Chris Goodwin uses found trash to tell stories and comment on waste. Takashi Murakami blends pop and commercial art. Jeff Koons' work examines consumer culture. Duane Hanson created extremely realistic sculptures that held a mirror to society. Judy Chicago's The Dinner Party brought attention to women's history and roles. Kara Walker uses silhouettes to depict slavery in a thought-provoking way. Kako Ueda uses paper to represent the natural and cultural influences on human and other organisms. Jenny Holzer is known for her "truisms
This document summarizes major artistic developments and movements from the mid-20th century onwards. It discusses Neo-Dadaism, Minimalism, Pop Art, Photo-Realism, Superrealism, and Neo-Expressionism. Key artists mentioned include Robert Rauschenberg, Jasper Johns, Claes Oldenburg, Andy Warhol, Richard Estes, Chuck Close, Duane Hanson, and George Segal. It also provides background historical context and describes the mediums and methods used by these influential artists.
Pop art emerged in the 1950s in England when a group of artists called The Independent Group began celebrating mass-produced popular culture like advertising, films, and music instead of rejecting it. Eduardo Paolozzi and Richard Hamilton are considered the fathers of British pop art, with Paolozzi making collages from comics and magazines in 1947. By the 1960s, a pop art movement was underway in America as well, centered in New York. Artists like Andy Warhol, Roy Lichtenstein, and James Rosenquist began creating work reflecting American culture and consumerism as a new way to make art relevant to modern experiences. Pop art had a huge influence in changing how people view everyday objects as aesthetically beautiful things in our lives
This document provides an introduction to the course "Postmodernism in Art" taught at the University of Edinburgh. It discusses key concepts needed to understand postmodernism such as modernity, modernism, and Clement Greenberg's formalism. It outlines how postmodernism emerged in the 1960s through movements like Pop Art, Minimalism, and Conceptualism. The document also examines debates around defining postmodernism and discusses how postmodern art questions aspects of modernism like artistic purity and the separation of art from everyday life.
This document provides an overview of how artists have depicted and explored concepts of the body, gender, and identity. It discusses how notions of beauty have varied across cultures and eras. Artists like Cindy Sherman, Andy Warhol, and Richard Prince examined how gender and male identities are socially constructed. The document also explores how some artists have challenged assumptions through techniques like cross-dressing and assuming different personae. Overall, the document examines the complex relationships between biology, gender, and constructed identities as portrayed in art over time.
This document discusses cultural and racial identity as expressed through art. It covers topics like nationalism and how art was used to construct national identities in Europe, America, China, and Japan. It also discusses how class and racial identities were depicted in works like Cliff Dwellers, Bal du Moulin de la Galette, and Aspiration. Racial identity for African Americans is discussed in relation to the Great Migration and works by Jacob Lawrence and Aaron Douglas that depicted this period.
How Art Works: Week 5 The Rise of the ismsDeborahJ
This lecture will:
Examine how artists sought to find a language that would adequately express the changes and disruptions associated with modern life
Attempt to capture the dialectical relationship between each movement and its predecessors
Make connections between historical events and art genres
Encouraged you to think of styles as useful tools for exploration and analysis, rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea
This document provides an overview of chapter 22 from the textbook "World of Art" by Henry M. Sayre. It discusses various ways that different cultures have depicted and understood the human life cycle and concepts of birth, youth, aging, death, and the afterlife through art. Specific examples discussed include Moche pottery depicting birth, Leonardo da Vinci's anatomical drawings of embryos, Tibetan Thangka paintings representing the Wheel of Life, and Egyptian pyramids and burial practices reflecting beliefs in the afterlife. The document also summarizes artworks reflecting on mortality from different time periods and cultures.
Minimalism emerged in the 1960s as both an extension of and reaction against modernist art. It embraced industrial materials and serial production techniques, rejecting a focus on individual craft. Minimalist works displayed no signs of the artist's touch, instead prioritizing the viewer's experience of the physical object in space over visual expression. While some saw it as replicating an alienating capitalist aesthetic, minimalism shifted the role of the viewer in important ways. Conceptual art further developed these ideas by emphasizing ideas and language over finished objects, challenging notions of what constitutes a work of art. Both movements reflected broader social and political critiques of the postwar era.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
The document discusses the evolving concept of the artist from pre-modern to modern times. Prior to the Renaissance, artists were seen as anonymous craftsmen fulfilling commissions from patrons. In the Renaissance, artists had more independence but were still constrained by contracts. The modern concept of the unique, individual artist emerged in the 19th century with Romanticism. This saw the artist as a troubled genius existing outside of society. In the 20th century, postmodern and conceptual art challenged the notion of the singular artistic author/genius through ideas like collaboration, appropriation, and deconstruction.
Social realism emerged as an art movement in the Philippines in the 1970s during the Marcos dictatorship as artists sought to promote social change through their depictions of everyday life and political issues. Kaisahan, a collective of 13 young artists, coined the term "social realism" and used various media like paintings, prints, comics and murals to portray the struggles of the working class and expose human rights abuses. Their goal was to raise social consciousness and inspire the masses to work for justice, freedom and peace. The social realists addressed themes of oppression, militarization, labor issues and more, drawing from folk traditions as well as Marxist and nationalist ideologies.
The document discusses urban intervention and tactical media art. It provides examples of artists who use public spaces and media to raise awareness of social and political issues. These include the Red Ball Project, which placed giant red balls in cities, and The Yes Men, who create fake news stories to draw attention to important topics. The document also discusses influential groups like the Situationists who created experimental art experiences in public settings and the rise of tactical media in the 1990s which allowed users to more easily spread messages through mainstream outlets.
This document summarizes Linda Nochlin's seminal 1971 essay "Why Have There Been No Great Women Artists?". Nochlin rejected the assumption behind the question, that women inherently lacked artistic genius. Instead, she argued feminist art historians should analyze how social and institutional structures shaped artistic production and excluded women. The document discusses essentialism in feminism and artists like Judy Chicago who linked women's art to biological experience. It also analyzes issues with Nochlin's approach, like its focus on painting and privileging of the notion of artistic genius. Overall, the document provides context around Nochlin's influential essay and its questioning of gender biases in the art world.
This document provides an overview of artistic styles from the Rococo period to Realism. It discusses how Europe transitioned from a semi-feudal state in the 18th century to an era shaped by the Enlightenment and Industrial Revolution. The Rococo style emphasized delicate colors, curving forms, and playful subjects. The Enlightenment pushed for rational thought and observation of natural laws. The Industrial Revolution profoundly transformed society and the economy. Neoclassicism emerged as a reaction against Rococo, drawing inspiration from Greek/Roman antiquity. The French Revolution influenced artists like Jacques-Louis David to depict political themes. Romanticism valued emotion over reason and nature over intellect. Eugène Delacroix was a
In this class, we tackle the grand question: what is art, anyway? How should we define it? We use the concept of "prestige" articulated by Tim van Laar and Leonard Diepeveen to help us understand the social stakes of the definition.
The document discusses postmodernism in art, specifically focusing on pop art and its relationship to consumer culture. It introduces Andy Warhol's Brillo Box from 1969 and discusses how pop art challenged previous definitions of art by appropriating images and objects from popular culture and mass media. The emergence of pop art coincided with the increasing commercialization of the art world. Theorists like Arthur Danto and Jean Baudrillard explored how pop art blurred the lines between art and everyday objects through the use of symbols and simulations.
Social realism emerged as an art movement in the Philippines in the 1970s-80s as a reaction to the authoritarian Marcos regime. The Kaisahan group coined the term "social realism" to describe their works depicting everyday struggles and promoting social change. They aimed to raise social consciousness through pieces addressing issues like injustice, oppression, and foreign domination. Popular forms included paintings, prints, comics, and portable murals used at protests. Themes centered on agrarian problems, exploitation, and the vision of a new social order.
A History of Aesthetic Theory: Modernism and PostmodernismVictoria Bertotti
This document discusses several key aspects of postmodernism and feminism. Postmodernists critique modernists and are eclectic in their sources and media. Feminists deconstruct images to show what is taken for granted and hidden. Both question existing power structures and aim to give voice to underrepresented groups. The document also discusses how sexuality and identity are socially constructed, and how postmodern artists appropriate existing works to show this. It notes debates around promoting a Western "canon" of art versus being more inclusive.
A2Y2 Media Studies Language Theory Postmodernism & HyperrealityKBucket
Postmodernism rejects the notion of objective truth and universal theories, instead believing that there are only individual interpretations of the world. It challenges social constructs and norms by bending and breaking rules. Key characteristics of postmodern works include self-reflexiveness by acknowledging the constructed nature of the medium, intertextuality through references to other works, and genre blending or hybridization. Postmodernism emphasizes style over substance and questions notions of reality through constant simulation and depthlessness.
Postmodernism in art emerged in the 1970s as a reaction against modernism. It aimed to be more inclusive and accommodating of different styles, subjects, and formats. Key aspects of postmodern art include incorporating irony, revealing the artistic process, and blurring boundaries between high and low art.
Art can be defined as objects or events that evoke aesthetic appreciation or are of more than ordinary significance. It involves qualities of beauty, creativity, expression, and meaning. While Western definitions often focus on "fine arts," anthropology takes a broader view of art as any creative cultural expression, including folk arts. Art is deeply embedded in its cultural context and reflects societal values and traditions while also being a site for individual expression. It plays important roles in cultural transmission, identity formation, and continuity amid change over time.
This document provides an overview of the humanities and various aspects of art. It begins by describing a course that covers visual arts, performing arts, cinema, and literature, exposing students to classical and contemporary artists and works. It then discusses objectives like understanding the meaning and importance of art and appreciating different art forms. The document goes on to define the humanities and explain major areas like literature, visual arts, and performing arts. It also provides examples of famous works and discusses artistic styles, movements, and the subjects, forms, and values of art.
This document provides an overview of concepts discussed in Chapter 1 of the textbook World of Art. It discusses several key points:
1) The artist Cai Guo-Qiang is introduced, known for pyrotechnic artworks like extending the Great Wall of China with gunpowder. For the 2008 Beijing Olympics, he directed a fireworks display tracing Chinese history.
2) The creative process is examined through examples like Picasso's Les Demoiselles d'Avignon, which evolved from sketches to the final radical work.
3) Artists can help viewers see the world differently, as seen in works by Cai, Ken Gonzales-Day documenting lynching sites, and coffins in Ghana celebrating
This document provides an overview of concepts discussed in Chapter 1 of the textbook World of Art. It discusses several key points:
1) The artist Cai Guo-Qiang utilized gunpowder to create ephemeral works, including an explosion that extended the Great Wall of China. For the 2008 Beijing Olympics, he directed the visual effects, though air pollution required showing a video rather than the planned fireworks display.
2) Seeing is an inherently creative process, as the human visual system selectively processes information. Works by Jasper Johns and Faith Ringgold demonstrate active, critical seeing of familiar icons like the American flag.
3) Artists engage in a creative process from conception to realization, responding to chance, exploring
1) The document discusses the contrast between the "soft" cultural practices of everyday life and the "hard" rational planning approaches of technocracies and economic imperialism.
2) It examines some "pathological" cultural trends in France including rising corporatism, boredom, and an obsession with wealth and security.
3) The decline of public participation in theaters is analyzed as a result of the rise of mass media which prioritizes rhetoric over authentic cultural expression.
4) The author argues that culture emerges from silent, collective practices and marginal creative acts rather than isolated works, and should be viewed as cultural operations that transform social structures over time.
Lowbrow art emerged in 1970s Los Angeles, inspired by surf culture, punk music, comics, and cartoons. It aimed to create art for mainstream culture. Lowbrow art is typically created by self-taught artists and features a humorous or sarcastic approach that doesn't follow conventions. The movement has grown since the 1970s and includes different styles between artists represented through their imagery.
El Puerto de Algeciras continúa un año más como el más eficiente del continente europeo y vuelve a situarse en el “top ten” mundial, según el informe The Container Port Performance Index 2023 (CPPI), elaborado por el Banco Mundial y la consultora S&P Global.
El informe CPPI utiliza dos enfoques metodológicos diferentes para calcular la clasificación del índice: uno administrativo o técnico y otro estadístico, basado en análisis factorial (FA). Según los autores, esta dualidad pretende asegurar una clasificación que refleje con precisión el rendimiento real del puerto, a la vez que sea estadísticamente sólida. En esta edición del informe CPPI 2023, se han empleado los mismos enfoques metodológicos y se ha aplicado un método de agregación de clasificaciones para combinar los resultados de ambos enfoques y obtener una clasificación agregada.
Here is Gabe Whitley's response to my defamation lawsuit for him calling me a rapist and perjurer in court documents.
You have to read it to believe it, but after you read it, you won't believe it. And I included eight examples of defamatory statements/
An astonishing, first-of-its-kind, report by the NYT assessing damage in Ukraine. Even if the war ends tomorrow, in many places there will be nothing to go back to.
Acolyte Episodes review (TV series) The Acolyte. Learn about the influence of the program on the Star Wars world, as well as new characters and story twists.
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Discover the essential tools and strategies for modern PR business success. Learn how to craft compelling news releases, leverage press release sites and news wires, stay updated with PR news, and integrate effective PR practices to enhance your brand's visibility and credibility. Elevate your PR efforts with our comprehensive guide.
3. • “The Situationist's agreed that consumption was assuming
an unprecedented significance in the post war period, but
they used this position to argue for an extension of the
notion of the proletariat to include all those who
experienced a loss of control over their lives, whether as
consumers or producers of commodities. They applied the
marxist conception of alienation to every area of everyday
life and argued that the development of capitalism
entailed the extension of the means, the objects, and the
intensity of alienated experiences. For the situationists, no
area of experience is free from the permeation of
capitalist relations of production and consumption; the
members of capitalist societies are reduced to the level of
spectators of a world which precludes their participation.’
• Sadie Plant, ‘What is Situationism? A reader’ editor Stewart
Home
3
4. • “What prevents what we say on the
construction of everyday life from being
recuperated by the cultural
establishment…is the fact that all
situationist ideas are nothing other than
faithful developments of acts attempted
constantly by thousands of people to try
and prevent another day from being no
more than twenty four hours of wasted
time’.
• Raoul Vaneigem
• From ‘Basic Banalities’ in Situationist
International Anthology
4
5. ““Critique for Lefebvre
does not celebrate
everyday life, banality or
ordinariness in their own
terms. Critique for
Lefebvre means
identifying the
possibilities that are
present in everyday life
Looking for moments of rupture rather than simply
confirming as
unalterable what already
happens to exist.”
Alex Law, Variant
6. Everyday Art (?)
• From the mid 90’s onwards there was an
obvious desire amongst many artists
(specifically in Britain) to transform the
conditions of arts consumption, production
and display -specifically in relation to the
experiences, pleasures and pains of the
everyday.
6
7. Reasons for this shift
• Extended 1980’s postmodernist leveling of old
cultural hierarchies (high art and low culture)
• A reaction against the academic, over
intellectualised, distanced role art and the artist
had come to adopt in 1980’s culture. A belief
that artists had become detached from
everyday culture (their own and others).
• New times. In Britain the economic recession of
the early nineties made the big budget slickness
of ‘serious art’ appear ridiculous . Museum
orientated work was out. Informal, lo-fi, trashy
work and collective activity, was in.
• Popular culture boom - intellectually, popularly
and technically. Popular culture becomes
‘respectable’ (Professors of Pop) , Cool
Britannia ‘renaissance’ in music, fashion etc.
New technologies like the video camera and
computer become ‘domestic’.
7
8. Artists -’Everyday People’
• During the 90’s a different kind of identity for the
artist appeared -fans rather than ‘critics’. Instead
of subjecting their ‘guilty’ pleasures to a
theoretical mauling, artists began to publicly
admit their love of everyday pop and pap .
• “The new art incorporates the commercialised
pleasures of the popular without embarrassment
or intellectual distance” (John Roberts) Barbara Kruger
• The product of heavily theoretical art school
education these questioned the role of theory in
art. Theory was tested in the everyday.
• ‘Meaning it’ replaced irony and camp
• The work was often far more inclusive view of
popular modes of culture and popular modes of
attention (see the appearance of humour in art
during this period)..
8
Tracey Emin Sarah Lucas
9. Everyday artists
Unapologetic, guiltless ‘fans’
of ‘trash’.
“So much contemporary
British art can’t take
seriously the seriousness of
serious art”
Dave Beech
Everything magazine
10. “The high theoretical demands of
post conceptual art rewritten by
critical postmodernism out of
French post structuralism seemed
to prevent any effective
engagement with the alienated
boredom's, frustrations and
pleasures of the culture that artists
experienced on a daily basis”
John Roberts
‘Domestic Squabbles’
in Who’s Afraid of Red. White and Blue
edited by David Burrows
11. Criticisms of -’dumbing down’ celebratory’
• Dumbing down. British art specifically
during the 90’s is guilty in its ‘playful
romps’ with ‘everyday, popular
culture’ of dumbing itself down in
order to become one more product
within the global entertainment,
spectacle led culture.
• Crucially for Stallabrass and others,
this ‘attitude’ was deeply anti
intellectual - that by becoming ‘fans’
of the popular, artists were betraying
their role as distanced critics and
observers of society
• Inverted snobbery -this was a nothing
more than shallow anti-intellectual
posturing- a dose of slumming it -see
‘Common People’ by Pulp.
11
13. Abjection - “a condition in which subjecthood is troubled, where meaning collapses”
• The abject is a complex psychological,
philosophical and linguistic concept developed
by Julia Kristeva in her 1980 book ʻPowers of
Horrorʼ.
• The abject consists of those elements,
particularly of the body, that transgress and
threaten our sense of cleanliness and propriety.
Kristeva herself commented 'refuse and corpses
show me what I permanently thrust aside in
order to live'.
• In practice the abject covers all the bodily functions,
or aspects of the body, that are deemed impure or
inappropriate for public display or discussion.
Originally the abject had a strong feminist context,
in that female bodily functions in particular are
'abjected' by a patriarchal social order. In the 1980s
and 1990s many artists became aware of this
theory and reflected it in their work. In 1993 the
Whitney Museum, New York, staged an exhibition
titled Abject Art: Repulsion and Desire in American
Art,
14. “it is not lack of cleanliness or
health that causes abjection
but what disturbs identity,
system, order. What does not
respect borders, positions,
rules. The in-between, the
ambiguous, the composite. “
Julie Kristeva
“The Powers of Horror: an essay on abjection”
http://www.tate.org.uk/onlineevents/archive/julia_kristeva/
17. “The resulting trajectory of
Acconciʼs compulsive
ejaculations effected a
literal cum-shot in the face
of the transcendent
cleanliness and geometric
order of the then
ascendant aesthetic of
minimalism, tainting the
purity of its precious bodily
fluids with his venereal
discharge. “
Douglas Fogle
“A Scatological Aesthetics
for the Tired of Seeing”
Chapmanworld catalogue
17
18. • Abject art
• In the 1990’s many artists staged
regression as an expression of protest and
defiance.
• In works which were often grotesque,
dysfunctional and ‘deviant’ they parodied
and mocked the values and figures of
‘straight’ authority / the ‘civilised’ world.
• Art in the nineties was full of the dejected
and rejected, mess and scatter, dirt and shit.
• A ‘rearactive’ assault on classic dualism (mind
body split) and the unhealthy repression and
sublimation endemic in society.
18
19. • 1993 exhibition featuring the work of
Helen Chadwick, Dorothy Cross, Nan
Goldin, Rachel Evans, Sue Williams,
Nicole Eisenmann.
19
20. Helter Skelter: LA Art in the '90s, at the Museum of Contemporary Art, Los Angeles 1992
Charles Ray
Raymond Pettibon
Lynn Foulkes
Jim Shaw
Paul McCarthy
Nancy Rubins
Mike Kelley
21. “They like yoga we like speed”
Paul McCarthy
21
Scatological, slacker aesthetic
22. “Signs of physical and
mental retardation and
congenital ‘stupidity’ cut an
abreactive line through the
official and intellectual
languages of dissent,
producing a grim
mockery of critical
Postmodernism's claims to
social intervention.’
John Roberts
Domestic Squabbles
In Who’s Afraid of Red, White and Blue edited by
David Burrows
Pg. 43
23. “I think an adolescent
attitude is the attitude of
the humorist, like
somebody who knows
the rules but doesn’t see
any reason to be
involved in them. The
adolescent period
interests me the most.
Modernism usually
valorizes childhood,
childishness or insanity –
something that’s
supposedly pre adult. But
then adult art has to get
involved in questions of
faith and belief, and I
don’t have any faith or
belief, so I don’t want to
make adult art. I’d rather
make adolescent art”.
Mike Kelley
24. “The result is an art of lumpen forms (dingy
toy animals stitched together in ugly masses),
lumpen subjects (pictures of dirt and trash)
and lumpen personae (dysfunctional men).
Most of these things resist formal shaping [..]
or social redeeming.”
Hal Foster ‘Return of the Real’ pg. 164
“the worst and trashiest stuff that the main culture abhors”
MIke Kelley
25. “the sense of modern
masculinity as an
extended adolescence
draws on what might
be called the
feminisation of
masculinity. In this
work it is as if the link
between hysteria and
powerlessness in
women’s art of the 80’s
has shifted to that of
the experience of men”
John Roberts “Domestic Squabbles”
26. • “I knew I wanted to appropriate
Disneyland in some way, the
park , the sculptures and
landscapes. The fake
Matterhorrn, it was so
American, an all-white sterile
environment and promotion of
colonial purity.”
• Paul McCarthy
26
27. Critique of....
“Kelley and McCarthy are
presumably pointing to
American social pathology
– the absurdity, even
lunacy of American
behaviour – but to perform
it, to project oneself into it
is not exactly to gain
perspective on it to
perform is not to work
through it, but to let
oneself be worked over by
it”.
Donald Kuspit
28. The Philistine - The 'counter-intuitive' philistine, returns the cultural debate to the problems of the
persistence of power, privilege and symbolic violence
• Anti professional “to unsettle the bureaucratic
smoothness of critical postmodernism, particularly now
it has become the official ideology of our wider digital
culture” (Roberts, J)
• Anti decorum “the use of popular cultural forms,
expressions and emblems as gestures of proletarian
and philistine disaffirmation. “(Roberts, J)
• Guiltless immersion in the everyday pleasures of
popular culture..…”Unlike the American and British
media art of the early '80s and the Goldsmiths
generation of the late '80s, these artists see the
everyday and its representations as something they
inhabit and work from as a matter of course.” - the
ordinariness of culture - “a refusal on the part of artists
to feel shame about engaging in the everyday through
the abject.”
• An embodied viewer “Talking dirty and showing your
bottom for the sheer delight of it, has become a
proletarian-philistine reflex against '80s feminist
propriety” (Roberts, J, )
29. Bank
“The zombies in "Zombie Golf" are
not aliens but the avatars of class
dissidence and the philistine refusal
to separate the cognitive categories
of the everyday (Does this pleasure
me? What function does it serve?)
from the experiences of art. This,
however, does not mean the zombie
installation mocks the pretensions of
the work on display (Dave Beech,
Maria Cook, Peter Doig, Sivan Lewin,
Adam Chodzko, Martin Creed,
Matthew Higgs and John Stezaker),
but that it questions its right to exist
untroubled by the realities of social
division which produces the
separation between art and
aesthetics, bodily needs and
experiences.”
John Roberts “Mad for it!”
33. Thomas Hirschhorn
'Substitution 2 (The Unforgettable)' - Thomas Hirschhorn, 2007
Mixed media installation, Overall: 325 x 562 x 940cm (128 x 221 1/4 x
370in)
33
http://www.stephenfriedman.com/artwork/hirs_the_unforgettable_13.jpg
35. ʻLa Chica del Tiempoʼ - Thomas Hirschhorn, 2006 35
Paper, plastic foil, adhesive tape, adhesive sticker, prints, point ball pen, felt-marker, 89 x 84 cm (35 x 33 in)