KVB127 03 The Body
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This document discusses how artists have used the body as a theme in visual art after 1980. It covers topics like beauty and the grotesque, performance, and the posthuman. It provides examples of works by artists from different time periods, cultures and backgrounds that reference the body in various ways. Some key works mentioned include Antony Gormley's Still Standing intervention at the Hermitage Museum, Wangechi Mutu's Lizard Love installation, and Hannah Bronte's Heala mixed media piece. The document suggests assignments for students to consider the body and produce works derived from bodily actions or cultural backgrounds.
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KVB127 07 Place 2020
This document discusses the theme of place in contemporary visual art. It provides examples of artists who address place in their work in different ways:
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This document provides an overview of installation art and performance art. It defines installation art as using sculptural materials and other media to modify how viewers experience space. Installation art is not confined to galleries and can be constructed publicly. Performance art uses the human body and actions in a particular time and place as the artwork. It may involve theater, dance or unexpected activities. The performer is the artist, and performances can vary in venue, duration, and level of improvisation. Examples of influential installation and performance artists from the Philippines are provided.
Introduction to sculpture
Sculpture has existed since prehistoric times, with early works created for religious or symbolic purposes. Major ancient civilizations like Egypt, China, Greece, and Rome produced sculptures that recorded both religious and political aspects of their societies. Techniques like carving, casting, constructing, and modeling were used. In subsequent eras, artists strived for perfection of the human form or moved towards abstraction. Contemporary sculptors continue redefining the art form using diverse materials and concepts. For a work to be considered sculpture, it must demonstrate skillful use of form, convey some message or emotion, and effectively employ sculpting techniques.
1. looking to learn naea 2011
Here are some tips for analyzing images:
- Describe what you see without making inferences. Focus on details.
- Note the composition - where is the subject located, angles, lighting, etc.
- Consider when and where it was created to understand context.
- Think about the intended audience and purpose. Was it meant to educate, persuade, etc.
- Compare and contrast images on the same topic from different eras or cultures.
- Identify any symbols and consider their meaning both originally and how meanings can change over time.
- Discuss how the image makes you feel and what message or ideas it conveys. Support with evidence from the image.
- Analyze the
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KVB127 03 The Body
- 1. KVB127 Visual Art Open Studio 2 Week 3: The Body
- 2. Robertson, J., & McDaniel, C. (2017). Themes of contemporary art: Visual art after 1980 (4th ed.). Oxford University Press. The Body Beauty and Grotesque Performance Sexualised - The Gaze: (Lacan and Mulvey) Posthuman
- 3. The Body • Gender • Class • Race • Culture • Sexual orientation • Generation/age • Language • Religion • Political • Ethics/Morality • Social position • Marital status • Geography/country • Suburb-City-State-Nation-Regio AND.. • ..let’s remember that identifying as an artist brings with it a complex history/protocols/tropes…Adrian PIPER | Catalysis III, IV 1970
- 4. Antony GORMLEY (British b. 1950) Still Standing 2011 Intervention, Hermitage Museum, St Petersburg
- 5. Venus of Willendorf; c. 28,000 BP (the Gravettian period); limestone with ochre coloring; Naturhistorisches Museum (Vienna, Austria) Tassel Gwion Gwion Figures; c.17,500 -5000 BP Drysdale National Park, Photo: BAC & Mark Jones
- 6. Wangechi MUTU (Kenyan-American, b.1972) Lizard Love, 2010 Installation view, Museum of Contemporary Art, Sydney, 2013
- 7. Sarah LUCAS Honey Pie Exhibition view, Sadie Coles HQ, London, 2020 Jenny SAVILLE Fulcrum, 1998–99 oil on canvas, 2.6×4.8 m
- 8. REBECCA HORN (German b.1944) left: Arm Extensions, 1970 right: Finger Gloves, 1972
- 9. Hannah BRONTE (Wakka Wakka/Yaegal b. 1991) Heala, 2018 Mixed media installation with video
- 10. Ah XIAN (Chinese-Australian, b. 1960) China China - Bust, 2002 and Serenity: Self portrait, Hamilton Gallery, Vic, 2016
- 11. James LUNA (Payómkawichum, Ipi, and Mexican-American, 1950-2018) The Artifact Piece, 1987 live performance
- 12. Hannah WILKE (American 1940-1993) Laundry Lint, C.O.’s 1974 Lint, various colors Untitled from S.O.S. Starification Object Series, 1974 (17.1 x 11.4 cm)
- 13. Cheryl DONEGAN (American b.1962) Head 1993 Video | 3:00 | loop
- 14. MARINA ABRAMOVIC (Yugoslavian b.1946) Expanding in Space 1977
- 15. Ann HAMILTON (American b.1956) Event of a Thread 2012
- 16. Levi van VELUW (Dutch, b.1985) Family 3.54 min | loop | full HD
- 17. Megan ARCHER (New Zealand, b.1988) Digital Bodies, 2018 Oil on canvas | c.100x100cm Moon RIBAS (Spanish b 1985) and Neil HARBISSON (British-Irish b.1984)
- 18. Week 3 Reflection Prepare for class by reviewing the resources in the Week 3 folder and considering the following questions: •What vision of the body is being proposed by each work? •How is the body being used as a point of reference? •Are essentialist notions of bodily identity being challenged or fostered by the work? Make notes in your blog and bring your observations and questions to class.Sarah LUCAS Honey Pie Exhibition view, Sadie Coles HQ, London, 2020
- 19. 2.3 BODYWORK (Homework Task) Produce a work (or works) derived from a bodily action. The works should not depict your body, but rather embody its physical qualities of movement, proportion, materiality, form. Feedback Session: Week 5 Tutorial Hannah BRONTE (Wakka Wakka/Yaegal b. 1991) Heala, 2018 Mixed media installation with video
- 20. 2.2 BACKGROUNDING (Homework Task) Consider your family and/or cultural background. What kind of processes do you connect with this background (eg. cultural practices, traditions, habits, routines, rituals, mannerisms, language, etc) Identify a single PROCESS from your background and use this as the basis of an artwork (4hrs) Feedback Session: Week 3 Tutorial Kara WALKER Fons Americanus, 2019 Turbine Hall Commission, Tate Modern, UK,