In this essay, I seek to demonstrate how the artist Susan Hiller’s installation, Monument (1980-1981) can be used to explore the theme of identity within public art and heritage. Following an introduction to both the artwork and the memorial (or monument) on which it is based, the theme is further examined in the related contexts of memory, remembrance, and ceremony. Finally, the conclusion calls for corrective action in the conceptualization and development of public space.
The document introduces a new direction for the Hirshhorn magazine under Richard Koshalek, the museum's new director. Each issue will now be guest edited by a senior staff member, trustee, or outside thinker. The spring issue is guest edited by Kerry Brougher, the museum's chief curator. The document outlines Koshalek and Brougher's vision of making the museum more relevant by focusing on themes relevant to art and society and presenting complex, diverse perspectives. Upcoming exhibitions and programs mentioned include a Blinky Palermo retrospective and talks on performance art and film.
Henry Moore was a British abstract sculptor active from the 1920s-1980s who was influenced by pre-Columbian and Renaissance art. He helped introduce modernism to the UK and became known for his large bronze and marble abstract sculptures often featuring reclining figures. Barbara Hepworth was another influential British abstract sculptor from the early 20th century, trained alongside Moore. Her early works had naturalistic qualities but she moved to pure abstraction influenced by carving techniques. Both artists conceived their works as abstract forms aimed to convey emotion through sculpture alone rather than representational meanings.
Jean-Michel Basquiat was a prominent Neo-Expressionist painter in the 1980s known for his distinctive primitive style that fused multicultural symbols and social commentary. His work reflected on his experiences growing up as a black man and living on the streets of New York City. Frida Kahlo was a Mexican painter who began painting after suffering a near-fatal accident. Her art was deeply autobiographical and explored her Mexican identity and experiences with trauma, illness, and an unfaithful husband. Lin Onus was an Australian artist of mixed Aboriginal and Scottish heritage who incorporated both indigenous and Western styles in his politically charged yet accessible works to explore his own identity between cultures.
This document discusses the history and evolution of graffiti art in New York City. It begins by describing the author's observations of street art in the city and their interest in understanding graffiti as a creative art form rather than mere vandalism. The document then traces the origins of graffiti in Philadelphia in the 1960s where it was associated with gangs and an expression of territorialism. When graffiti emerged in New York City via subway taggers in the 1970s, it was similarly viewed negatively. However, graffiti matured and developed artistic merit. By the 1980s, graffiti had grown in recognition abroad and in art galleries, moving from its gang origins to an expression worthy of praise. Today, graffiti is
For my Visual Arts course, we were assigned a local art gallery to visit. We were to take a look at the exhibit(s), then present an analysis of the artist\'s works to the class.
This was my result!
Eugène Atget was a pioneering French documentary photographer in the late 19th/early 20th century known for documenting architecture and street scenes of Paris before modernization. He began his career in photography in the 1890s after failing as a painter and actor, supplying photos to artists. Though he sold many of his glass plate negatives in the 1920s, he continued photographing parks and prostitutes in his later years. Atget's photos were a unique visual catalog of French culture in Paris at the time and influenced contemporary photography through their simplicity, mystery, and ability to interpret cultural traditions through visual means.
Politics and art 1900 1940 presentationMartin Hirst
This document discusses the relationship between politics and art in Europe from 1900 to 1940. It notes that many modern art movements like Fauvism, German Expressionism, Cubism, Futurism, Constructivism, Dada, and Surrealism emerged during this period of political upheaval including two world wars, socialist revolution in Russia, and the rise of fascism. It provides examples of artworks from these movements and discusses how artists engaged with politics through their work, whether directly commenting on events or embracing new aesthetics that challenged traditional forms of art. The document considers how the monetary value of art from this period has changed over time and debates what defines political art.
After World War 2, the art world underwent major changes and disruptions. Modernism shifted from Paris to New York City and took on a stricter formalism under the influence of Clement Greenberg. In Europe, art reflected existentialist themes of despair through works like Francis Bacon's painting. Abstract Expressionism emerged in New York featuring gestural paintings like Pollock's. Minimalism and Pop Art also emerged, simplifying forms and using imagery of mass culture. New movements challenged assumptions through Happenings, Conceptual art, and Land art. Architecture integrated sculpture and structure in works like Wright's Guggenheim Museum.
The document introduces a new direction for the Hirshhorn magazine under Richard Koshalek, the museum's new director. Each issue will now be guest edited by a senior staff member, trustee, or outside thinker. The spring issue is guest edited by Kerry Brougher, the museum's chief curator. The document outlines Koshalek and Brougher's vision of making the museum more relevant by focusing on themes relevant to art and society and presenting complex, diverse perspectives. Upcoming exhibitions and programs mentioned include a Blinky Palermo retrospective and talks on performance art and film.
Henry Moore was a British abstract sculptor active from the 1920s-1980s who was influenced by pre-Columbian and Renaissance art. He helped introduce modernism to the UK and became known for his large bronze and marble abstract sculptures often featuring reclining figures. Barbara Hepworth was another influential British abstract sculptor from the early 20th century, trained alongside Moore. Her early works had naturalistic qualities but she moved to pure abstraction influenced by carving techniques. Both artists conceived their works as abstract forms aimed to convey emotion through sculpture alone rather than representational meanings.
Jean-Michel Basquiat was a prominent Neo-Expressionist painter in the 1980s known for his distinctive primitive style that fused multicultural symbols and social commentary. His work reflected on his experiences growing up as a black man and living on the streets of New York City. Frida Kahlo was a Mexican painter who began painting after suffering a near-fatal accident. Her art was deeply autobiographical and explored her Mexican identity and experiences with trauma, illness, and an unfaithful husband. Lin Onus was an Australian artist of mixed Aboriginal and Scottish heritage who incorporated both indigenous and Western styles in his politically charged yet accessible works to explore his own identity between cultures.
This document discusses the history and evolution of graffiti art in New York City. It begins by describing the author's observations of street art in the city and their interest in understanding graffiti as a creative art form rather than mere vandalism. The document then traces the origins of graffiti in Philadelphia in the 1960s where it was associated with gangs and an expression of territorialism. When graffiti emerged in New York City via subway taggers in the 1970s, it was similarly viewed negatively. However, graffiti matured and developed artistic merit. By the 1980s, graffiti had grown in recognition abroad and in art galleries, moving from its gang origins to an expression worthy of praise. Today, graffiti is
For my Visual Arts course, we were assigned a local art gallery to visit. We were to take a look at the exhibit(s), then present an analysis of the artist\'s works to the class.
This was my result!
Eugène Atget was a pioneering French documentary photographer in the late 19th/early 20th century known for documenting architecture and street scenes of Paris before modernization. He began his career in photography in the 1890s after failing as a painter and actor, supplying photos to artists. Though he sold many of his glass plate negatives in the 1920s, he continued photographing parks and prostitutes in his later years. Atget's photos were a unique visual catalog of French culture in Paris at the time and influenced contemporary photography through their simplicity, mystery, and ability to interpret cultural traditions through visual means.
Politics and art 1900 1940 presentationMartin Hirst
This document discusses the relationship between politics and art in Europe from 1900 to 1940. It notes that many modern art movements like Fauvism, German Expressionism, Cubism, Futurism, Constructivism, Dada, and Surrealism emerged during this period of political upheaval including two world wars, socialist revolution in Russia, and the rise of fascism. It provides examples of artworks from these movements and discusses how artists engaged with politics through their work, whether directly commenting on events or embracing new aesthetics that challenged traditional forms of art. The document considers how the monetary value of art from this period has changed over time and debates what defines political art.
After World War 2, the art world underwent major changes and disruptions. Modernism shifted from Paris to New York City and took on a stricter formalism under the influence of Clement Greenberg. In Europe, art reflected existentialist themes of despair through works like Francis Bacon's painting. Abstract Expressionism emerged in New York featuring gestural paintings like Pollock's. Minimalism and Pop Art also emerged, simplifying forms and using imagery of mass culture. New movements challenged assumptions through Happenings, Conceptual art, and Land art. Architecture integrated sculpture and structure in works like Wright's Guggenheim Museum.
This document discusses what art is and explores its various functions and components. It examines how art can be a visual expression of ideas or experiences that serves personal, social, physical, spiritual, and educational purposes. The document also looks at different artworks, artists, and the steps to critique a work of art, such as describing, analyzing, interpreting, and judging it.
Mark Rothko and Barnett Newman were influential 20th century abstract expressionist painters known for their use of color and exploration of spiritual themes. Rothko began experimenting with color field paintings in the 1940s-50s, focusing on large areas of color and eliminating figurative elements. Newman began creating minimalist works featuring blocks of intense color separated by thin lines in the 1950s, seeking to express profound emotions and create a quasi-religious experience for viewers. Both artists saw their abstract works as conveying philosophical and spiritual truths beyond mere visual aesthetics.
SUBJECTS OF ART AND THE METHODS OF PRESENTINGJam Lacanlale
The document discusses various subjects and methods of presenting art. It describes two main types of art subjects: representational/objective art that depicts recognizable objects, and non-representational/non-objective art that has no recognizable objects and is abstract. It then discusses several methods/styles of presenting art subjects, including realism, abstraction, symbolism, fauvism, dadaism, futurism, surrealism, cubism, and impressionism. Each method/style has distinguishing characteristics in how they depict or represent subjects.
This document provides an overview of art in the 20th century. It showcases works from various artistic movements and highlights experimentation with new materials, styles, and a rejection of realism. Key developments include the rise of abstraction, the relationship between art and its social/political contexts, and questioning traditional boundaries between high and low art forms.
The document provides an overview of art history from 1911-1917, covering the development of Cubism, Dada, abstraction, and other modern art movements. It discusses key artists and works, including Picasso and Braque's experiments with Cubism, Duchamp's readymades, Malevich's suprematist paintings, and Mondrian's transition to pure abstraction through his Neoplastic style. The document also covers the origins of Dada in Zurich during World War I and Alfred Stieglitz's promotion of modernist photography in America through his journal Camera Work.
This document provides an introduction to key concepts in visual art, including the elements of design and principles of design. It discusses line, shape, form, mass, value, light, color, texture, pattern, space, and other elements. For each element, the document defines it, provides examples from artworks, and discusses how artists use that element. The overall goal is to teach readers important components of art so they can better understand how art is made and how it has progressed throughout history.
Chapter 22 conceptual and activist artPetrutaLipan
Joseph Kosuth's conceptual artwork One and Three Chairs from 1965 consisted of a real chair with a photo of the chair and the dictionary definition, exemplifying the emerging Conceptual art movement that valued an artwork's concept over physical properties. Lawrence Weiner, Douglas Huebler, and Robert Barry were influential early Conceptual artists who created text-based works or documented everyday activities. Hans Haacke and Michael Asher practiced institutional critique, questioning how art was valued and presented in society. Bruce Nauman worked across mediums like video and neon to blend Conceptualism with performance and language-based works. The feminist art movement, led by Judy Chicago and Miriam Schapiro at CalArts, encouraged female artists to address
The New York School of graphic design emerged in the 1940s and dominated the field into the 1970s. It was influenced by European modernism and the influx of immigrant designers. The New York School emphasized expressing ideas through direct, open presentations and novelty of technique. Key designers included Paul Rand, who helped establish the American approach, and Massimo Vignelli, known for designs like the 1972 New York City subway map. Designers experimented with typography and explored personal styles while solving communication problems. The movement nurtured creativity and attracted talented individuals in the culturally vibrant environment of mid-20th century New York City.
The document provides an overview of art history from 1940-1949, focusing on developments in the United States. It discusses how European artists fled to the US to escape Nazi persecution, exposing American artists to new styles like Surrealism. American artists then developed new abstract styles like Abstract Expressionism, as seen in works by Pollock, Rothko, and De Kooning. The document also covers the Harlem Renaissance and how African American artists like Jacob Lawrence and Aaron Douglas developed a visual vocabulary to express Black identity and culture through a hybrid of European modernism and traditional African forms.
Minimalist art from 1960-1975 aimed for simplicity in both form and content by removing personal expression and distractions from theme. Key artists of the movement included Adam Barscewski, Carl Andre known for his piece Aluminum Lock from 1968 measuring 5ftx18ft, Dan Flavin and his work Icon V (Coran's Broadway Flesh) measuring 1.5ftx1.5ft, Sol Lewitt and his Structure from 1973 measuring 6.5ftx24ft, Donald Judd and his piece Tôle galvanisé from 1971 measuring 1.5ftx1.5fx1in, and Piet Mondriaan and his Composition avec Rouge, Bleu et Jaune
The document summarizes major art movements and styles that emerged in America after World War 2, including Abstract Expressionism, Pop Art, Minimalism, and Feminist Art. It provides examples of influential artists like Jackson Pollock, Andy Warhol, Frank Stella, and Judy Chicago. The art movements reflected reactions to the postwar period, consumer culture, protest movements, and the changing roles of women in society.
Chapter 15 american art before world war iiPetrutaLipan
This document provides an overview of American art before World War II. It summarizes key artistic movements and artists of the time period. The 1920s saw the rise of regionalism in response to a search for national identity. The Great Depression of the 1930s dominated the arts and saw government support for art projects. Photographers like Riis, Hine, Stieglitz documented social issues. Modernist painters like Dove, Hartley, and O'Keeffe experimented with abstraction. Regionalists like Benton and Wood captured American scenes and culture.
The document discusses the emergence of Institutional Critique and Feminist Art in the early 1970s. It describes Hans Haacke's work "Manhattan Real Estate Holdings" from 1971, which critically examined the real estate holdings of wealthy individuals. This work led to Haacke's retrospective being cancelled at the Guggenheim. The document also outlines how Feminist artists like Judy Chicago and Louise Bourgeois began using the female body and sexuality as themes to critique the male gaze and biases within the modernist canon. It traces the development of Feminist Art and its goal of making "the personal political."
- In the 1940s, American artists distanced themselves from politically driven avant-garde styles and Marxism. Diego Rivera included communist imagery in his Rockefeller Center mural, causing controversy.
- Surrealist artists like Andre Breton and Wolfgang Paalen experimented with automatism and techniques like frottage and fumage. Many European surrealist artists fled to the US to escape Nazi persecution.
- Abstract expressionism emerged in the late 1940s in New York, exemplified by artists like Pollock, Rothko, Motherwell, and de Kooning. Pollock's drip paintings in the late 1940s were especially influential in establishing this new American style of abstract art.
The document discusses how modern art movements in the early 20th century, such as Cubism and Expressionism, influenced graphic design. It describes Pablo Picasso's Cubist works which analyzed subjects from multiple viewpoints using geometric planes. Cubism challenged Renaissance traditions and its emphasis on shapes influenced graphic composition. Expressionist works exaggerated color and proportion to depict subjective emotions. Both styles influenced graphic illustration and poster art by emphasizing social and political messages.
KCC Art 211 Ch 23 Postwar Modern Movements In The WestKelly Parker
The document summarizes several modern art movements that emerged in the West after World War II, including Abstract Expressionism, Pop Art, Minimalism, Earth Art, Installations, and Performance Art. It provides background on influential artists such as Pollock, Rothko, Warhol, Oldenburg, Judd, Smithson, and Chicago and describes characteristics of their works.
Mohammed E. Ali has over 18 years of experience in information technology with an emphasis on database and data infrastructure design and administration. He has worked extensively with Oracle technologies such as Exadata, Exalogic, Oracle RAC, Data Guard, GoldenGate, and Oracle databases. His experience includes database installations, upgrades, performance tuning, and recovery. He also has experience assessing and implementing maximum availability architectures.
Este documento proporciona una visión general del Texto de Referencia sobre Transporte Urbano Sostenible producido por la GTZ. Explica que el Texto de Referencia cubre temas clave de políticas de transporte urbano y consiste en más de 27 módulos. Está dirigido a diseñadores de políticas en ciudades en desarrollo y sus asesores. Los lectores pueden descargar versiones digitales de los módulos o adquirir una versión impresa en chino. El documento invita a los lectores a enviar comentarios y
Plastic is a synthetic material made from organic polymers that can be molded into various shapes. There are two main types of plastics: thermoplastics and thermoset plastics. Thermoplastics soften when heated and harden when cooled, allowing them to be remolded and recycled. Thermoset plastics harden permanently once molded. Plastics have a variety of applications due to their properties like corrosion resistance, low cost, and ability to be molded into complex shapes. However, they also have weaknesses like low strength and sensitivity to heat and chemicals.
This document is a student paper on investing in gold. It begins with an introduction that provides background on gold's historic value and use as a currency. The student then expresses doubts about choosing gold as their research topic, worrying it had already been extensively covered. The literature review discusses different concepts around gold, including debates on paper money versus gold and gold's behavior in various economic stages. Interviews were conducted with professionals. The goal of the paper is to understand humanity's enduring desire for gold and whether it remains a secure future investment.
Inicial do Mandado de Segurança contra ato de Renan CalheirosMarcelo Auler
1. Os impetrantes apresentaram pedido de impeachment do Ministro Gilmar Mendes ao Presidente do Senado, que determinou o arquivamento de forma monocrática. 2. O ato é ilegal porque a competência para receber a denúncia é da Mesa do Senado, não do Presidente. 3. Além disso, o Presidente do Senado, Renan Calheiros, estava impedido por falta de imparcialidade.
This document discusses what art is and explores its various functions and components. It examines how art can be a visual expression of ideas or experiences that serves personal, social, physical, spiritual, and educational purposes. The document also looks at different artworks, artists, and the steps to critique a work of art, such as describing, analyzing, interpreting, and judging it.
Mark Rothko and Barnett Newman were influential 20th century abstract expressionist painters known for their use of color and exploration of spiritual themes. Rothko began experimenting with color field paintings in the 1940s-50s, focusing on large areas of color and eliminating figurative elements. Newman began creating minimalist works featuring blocks of intense color separated by thin lines in the 1950s, seeking to express profound emotions and create a quasi-religious experience for viewers. Both artists saw their abstract works as conveying philosophical and spiritual truths beyond mere visual aesthetics.
SUBJECTS OF ART AND THE METHODS OF PRESENTINGJam Lacanlale
The document discusses various subjects and methods of presenting art. It describes two main types of art subjects: representational/objective art that depicts recognizable objects, and non-representational/non-objective art that has no recognizable objects and is abstract. It then discusses several methods/styles of presenting art subjects, including realism, abstraction, symbolism, fauvism, dadaism, futurism, surrealism, cubism, and impressionism. Each method/style has distinguishing characteristics in how they depict or represent subjects.
This document provides an overview of art in the 20th century. It showcases works from various artistic movements and highlights experimentation with new materials, styles, and a rejection of realism. Key developments include the rise of abstraction, the relationship between art and its social/political contexts, and questioning traditional boundaries between high and low art forms.
The document provides an overview of art history from 1911-1917, covering the development of Cubism, Dada, abstraction, and other modern art movements. It discusses key artists and works, including Picasso and Braque's experiments with Cubism, Duchamp's readymades, Malevich's suprematist paintings, and Mondrian's transition to pure abstraction through his Neoplastic style. The document also covers the origins of Dada in Zurich during World War I and Alfred Stieglitz's promotion of modernist photography in America through his journal Camera Work.
This document provides an introduction to key concepts in visual art, including the elements of design and principles of design. It discusses line, shape, form, mass, value, light, color, texture, pattern, space, and other elements. For each element, the document defines it, provides examples from artworks, and discusses how artists use that element. The overall goal is to teach readers important components of art so they can better understand how art is made and how it has progressed throughout history.
Chapter 22 conceptual and activist artPetrutaLipan
Joseph Kosuth's conceptual artwork One and Three Chairs from 1965 consisted of a real chair with a photo of the chair and the dictionary definition, exemplifying the emerging Conceptual art movement that valued an artwork's concept over physical properties. Lawrence Weiner, Douglas Huebler, and Robert Barry were influential early Conceptual artists who created text-based works or documented everyday activities. Hans Haacke and Michael Asher practiced institutional critique, questioning how art was valued and presented in society. Bruce Nauman worked across mediums like video and neon to blend Conceptualism with performance and language-based works. The feminist art movement, led by Judy Chicago and Miriam Schapiro at CalArts, encouraged female artists to address
The New York School of graphic design emerged in the 1940s and dominated the field into the 1970s. It was influenced by European modernism and the influx of immigrant designers. The New York School emphasized expressing ideas through direct, open presentations and novelty of technique. Key designers included Paul Rand, who helped establish the American approach, and Massimo Vignelli, known for designs like the 1972 New York City subway map. Designers experimented with typography and explored personal styles while solving communication problems. The movement nurtured creativity and attracted talented individuals in the culturally vibrant environment of mid-20th century New York City.
The document provides an overview of art history from 1940-1949, focusing on developments in the United States. It discusses how European artists fled to the US to escape Nazi persecution, exposing American artists to new styles like Surrealism. American artists then developed new abstract styles like Abstract Expressionism, as seen in works by Pollock, Rothko, and De Kooning. The document also covers the Harlem Renaissance and how African American artists like Jacob Lawrence and Aaron Douglas developed a visual vocabulary to express Black identity and culture through a hybrid of European modernism and traditional African forms.
Minimalist art from 1960-1975 aimed for simplicity in both form and content by removing personal expression and distractions from theme. Key artists of the movement included Adam Barscewski, Carl Andre known for his piece Aluminum Lock from 1968 measuring 5ftx18ft, Dan Flavin and his work Icon V (Coran's Broadway Flesh) measuring 1.5ftx1.5ft, Sol Lewitt and his Structure from 1973 measuring 6.5ftx24ft, Donald Judd and his piece Tôle galvanisé from 1971 measuring 1.5ftx1.5fx1in, and Piet Mondriaan and his Composition avec Rouge, Bleu et Jaune
The document summarizes major art movements and styles that emerged in America after World War 2, including Abstract Expressionism, Pop Art, Minimalism, and Feminist Art. It provides examples of influential artists like Jackson Pollock, Andy Warhol, Frank Stella, and Judy Chicago. The art movements reflected reactions to the postwar period, consumer culture, protest movements, and the changing roles of women in society.
Chapter 15 american art before world war iiPetrutaLipan
This document provides an overview of American art before World War II. It summarizes key artistic movements and artists of the time period. The 1920s saw the rise of regionalism in response to a search for national identity. The Great Depression of the 1930s dominated the arts and saw government support for art projects. Photographers like Riis, Hine, Stieglitz documented social issues. Modernist painters like Dove, Hartley, and O'Keeffe experimented with abstraction. Regionalists like Benton and Wood captured American scenes and culture.
The document discusses the emergence of Institutional Critique and Feminist Art in the early 1970s. It describes Hans Haacke's work "Manhattan Real Estate Holdings" from 1971, which critically examined the real estate holdings of wealthy individuals. This work led to Haacke's retrospective being cancelled at the Guggenheim. The document also outlines how Feminist artists like Judy Chicago and Louise Bourgeois began using the female body and sexuality as themes to critique the male gaze and biases within the modernist canon. It traces the development of Feminist Art and its goal of making "the personal political."
- In the 1940s, American artists distanced themselves from politically driven avant-garde styles and Marxism. Diego Rivera included communist imagery in his Rockefeller Center mural, causing controversy.
- Surrealist artists like Andre Breton and Wolfgang Paalen experimented with automatism and techniques like frottage and fumage. Many European surrealist artists fled to the US to escape Nazi persecution.
- Abstract expressionism emerged in the late 1940s in New York, exemplified by artists like Pollock, Rothko, Motherwell, and de Kooning. Pollock's drip paintings in the late 1940s were especially influential in establishing this new American style of abstract art.
The document discusses how modern art movements in the early 20th century, such as Cubism and Expressionism, influenced graphic design. It describes Pablo Picasso's Cubist works which analyzed subjects from multiple viewpoints using geometric planes. Cubism challenged Renaissance traditions and its emphasis on shapes influenced graphic composition. Expressionist works exaggerated color and proportion to depict subjective emotions. Both styles influenced graphic illustration and poster art by emphasizing social and political messages.
KCC Art 211 Ch 23 Postwar Modern Movements In The WestKelly Parker
The document summarizes several modern art movements that emerged in the West after World War II, including Abstract Expressionism, Pop Art, Minimalism, Earth Art, Installations, and Performance Art. It provides background on influential artists such as Pollock, Rothko, Warhol, Oldenburg, Judd, Smithson, and Chicago and describes characteristics of their works.
Mohammed E. Ali has over 18 years of experience in information technology with an emphasis on database and data infrastructure design and administration. He has worked extensively with Oracle technologies such as Exadata, Exalogic, Oracle RAC, Data Guard, GoldenGate, and Oracle databases. His experience includes database installations, upgrades, performance tuning, and recovery. He also has experience assessing and implementing maximum availability architectures.
Este documento proporciona una visión general del Texto de Referencia sobre Transporte Urbano Sostenible producido por la GTZ. Explica que el Texto de Referencia cubre temas clave de políticas de transporte urbano y consiste en más de 27 módulos. Está dirigido a diseñadores de políticas en ciudades en desarrollo y sus asesores. Los lectores pueden descargar versiones digitales de los módulos o adquirir una versión impresa en chino. El documento invita a los lectores a enviar comentarios y
Plastic is a synthetic material made from organic polymers that can be molded into various shapes. There are two main types of plastics: thermoplastics and thermoset plastics. Thermoplastics soften when heated and harden when cooled, allowing them to be remolded and recycled. Thermoset plastics harden permanently once molded. Plastics have a variety of applications due to their properties like corrosion resistance, low cost, and ability to be molded into complex shapes. However, they also have weaknesses like low strength and sensitivity to heat and chemicals.
This document is a student paper on investing in gold. It begins with an introduction that provides background on gold's historic value and use as a currency. The student then expresses doubts about choosing gold as their research topic, worrying it had already been extensively covered. The literature review discusses different concepts around gold, including debates on paper money versus gold and gold's behavior in various economic stages. Interviews were conducted with professionals. The goal of the paper is to understand humanity's enduring desire for gold and whether it remains a secure future investment.
Inicial do Mandado de Segurança contra ato de Renan CalheirosMarcelo Auler
1. Os impetrantes apresentaram pedido de impeachment do Ministro Gilmar Mendes ao Presidente do Senado, que determinou o arquivamento de forma monocrática. 2. O ato é ilegal porque a competência para receber a denúncia é da Mesa do Senado, não do Presidente. 3. Além disso, o Presidente do Senado, Renan Calheiros, estava impedido por falta de imparcialidade.
Mandado de Segurança contra Renan Calheiros pelo impeachment de Gilmar MendesMarcelo Auler
Os cinco juristas, entre eles o ex-Procurador-geral da República, Cláudio Fonteles, e o ex-Subprocurador-geral da República,, Wagner Gonçalves, ajuizaram Mandado de Segurança junto à presidente do STF, ministra Carmen Lúcia, contra o arquivamento determinado por Renan Calheiros do pedido de impeachment do ministro Gilmar Mendes.
Cement is a binder used in construction that sets and binds other materials. The most important types are used to produce mortar and concrete. Cement is made up of calcium compounds that contribute strength over time through hydration. The main compounds are tricalcium aluminate, dicalcium silicate, and tricalcium silicate. Cement sets due to a chemical reaction with water. Common cement types include Portland cement and blended cements. Cement has many uses in construction and infrastructure. Proper storage, handling, and testing help ensure cement quality.
Ganhou a democracia na FioCruz, ganhou a democracia na sociedadeMarcelo Auler
O documento é um discurso da presidente recém-nomeada da Fiocruz, Nísia Trindade Lima, agradecendo à comunidade da Fiocruz e à sociedade pelo apoio à democracia durante o processo eleitoral para a presidência da instituição. Ela destaca a importância da mobilização que resultou em sua nomeação após o processo não ter sido respeitado inicialmente, e diz que isso representou uma vitória da democracia na Fiocruz e no Brasil.
Mohammed E. Ali has over 18 years of experience in information technology with an emphasis on database and data infrastructure design and administration. He has worked with Oracle databases like Exadata, Exalogic, SuperCluster, Oracle RAC, and Data Guard. His areas of expertise include database assessments, installations, migrations, upgrades, performance tuning, and recovery. He is proficient in technologies like Oracle, SQL Server, Linux, and Solaris and has experience across various industries.
Mandado de Segurança contra Renan Calheiros pelo impeachment de Gilmar MendesMarcelo Auler
1) O documento descreve um pedido de mandado de segurança contra o presidente do Senado por ter arquivado um pedido de impeachment contra um ministro do STF. 2) Os autores alegam que o ato foi ilegal pois o presidente não tinha competência, somente a mesa do Senado, e ele também estava impedido. 3) Pedem que a corte determine que a mesa do Senado analise o pedido de impeachment.
A candidatura de Nisia Trindade descrita pela médica Célia AlmeidaMarcelo Auler
A importância da representatividade e da manutenção do espírito democrático da escolha do presidente da Fiocruz é ressaltada na carta da médica Célia Almeida.
The document summarizes key aspects of ancient Roman architecture. It discusses how the Romans borrowed from Greek architecture but improved construction techniques like arches and vaults. It provides details on common building types, materials, and tools used. Important Roman architectural innovations are outlined, such as concrete construction, different wall techniques, and wide use of arches, vaults, and domes. Engineering feats like aqueducts and roads are also summarized. Major public structures like the Colosseum and Pantheon are highlighted as iconic examples of Roman architectural achievements.
Adobe is a simple brick made from sun-dried mud composed of sand, clay, straw, and water. Adobe construction began in 600 BC in South America and Iran. Adobe bricks do not require foundations as the walls are built directly on prepared ground or stone footings. Traditional adobe roofs used logs or vigas and are only suitable in dry climates. Adobe offers advantages like low costs and good thermal insulation but has disadvantages like damage from water, wind, and earthquakes requiring regular maintenance.
Carta renúncia dos conselheiros do CNPCPMarcelo Auler
1) Os membros do Conselho Nacional de Política Criminal e Penitenciária do Ministério da Justiça renunciam coletivamente devido a divergências com a política criminal atual.
2) Eles acreditam que a política atual está indo na direção contrária aos princípios constitucionais e ignora pesquisas e debates sobre o tema.
3) Também criticam tentativas de controlar a voz e opinião do Conselho, transformando-o em mero avalista das políticas do Ministério.
PUNJAB ENERGY DEVELOPMENT AGENCY BUILDING , CHANDIGARHSiddiq Salim
The Punjab Energy Development Agency (PEDA) office building in Chandigarh, India utilizes passive solar design principles to provide lighting, cooling, and heating with minimal energy usage. Constructed in 2004, the building's design incorporates elements like solar shells, a hyperbolic paraboloid roof, and photovoltaic panels to maximize natural light and thermal regulation. As a result, the building achieves the highest rating of energy efficiency and has the lowest energy performance index in India for a non-air-conditioned building.
Ação de Conhecimento dos Delegados da Lava Jato contra a UniãoMarcelo Auler
Este documento trata de uma ação de conhecimento movida por três delegados da Polícia Federal contra a União. Os delegados movem a ação para ter acesso aos autos de uma sindicância administrativa instaurada contra eles para apurar suposta instalação ilegal de escutas. Os principais pontos são: 1) Os delegados requerem acesso aos autos da sindicância, mas o sindicante negou sob alegação de sigilo; 2) Negativa de acesso fere o direito de defesa dos delegados no processo administrativo; 3) Precedentes do ST
The document summarizes several artworks that explore themes of globalization and how cultures interact and influence each other globally. It discusses works by artists from different countries that incorporate both traditional and modern iconography from diverse cultures like Li Lihong's porcelain sculptures blending Chinese and Western motifs and Korakrit Arunanondchai's video art examining the merging of art and life in contemporary Thailand. The document examines how artists acknowledge and comment on cultural exchange in an increasingly interconnected world.
This document discusses the paradox of how the Museum of Modern Art (MoMA) in New York excluded women artists in its early exhibitions and collections, despite several influential women playing key roles in its founding. While MoMA aimed to showcase modern art, it presented an incomplete view that disappeared the significant contributions of women artists. The document analyzes how modernism and notions of gender were intimately linked, yet MoMA promoted a universalizing vision of modern art as predominantly a masculine domain, excluding the diversity of women's experiences and participation in shaping modern culture.
Satellite television, the internet, and colonialism helped drive the evolution of globalism. Several key figures and events influenced changes in racial equality, gender equality, and other social movements in the latter half of the 20th century, including Martin Luther King Jr., the women's movement, and the gay rights movement. Abstract Expressionism emerged as the dominant art movement in the 1940s-1960s in New York, pioneered by artists like Jackson Pollock, Willem de Kooning, and Franz Kline who experimented with action painting and color field techniques.
This document provides an overview of modern art movements from the late 19th century through mid-20th century. It discusses avant-garde art and how modernism developed out of this. Key characteristics of modern art included discarding traditional forms, embracing disruption, and emphasis on innovation. The document then summarizes some influential modern artists and art movements like Cubism, Dada, Surrealism, Mexican Muralists, Social Realism, and the work of Arshile Gorky. It provides context and examples for understanding the emergence and development of modern art.
The document summarizes key artworks and artists from the 20th century including:
- Fallingwater by Frank Lloyd Wright, known for its cantilever design and integration with the landscape.
- The Bauhaus Building by Walter Gropius which declared modern engineering and functionality.
- Mies van der Rohe's German Pavilion for the 1929 Barcelona International Exposition which emphasized simplicity and structure.
- Le Corbusier's Villa Savoye which was an icon of the International Style and featured ribbon windows and domino construction.
- Jacob Lawrence's Migration Series which chronicled the Great Migration of African Americans from the rural South to Northern cities through 60 small panels.
The Greek theater originated from religious rituals and was used to educate and entertain audiences. Greek theaters were built into hillsides with a circular area for seating called the theatron. Behind this was the skene, a simple wooden structure that served as a backdrop and dressing room for actors. Over time, the skene became more elaborate. While the origins of the Greek theater are unclear, it is believed to have developed from religious festivals and performances. The theater format established by the Greeks influenced later Western theaters.
This document provides biographical information about American painter Grant Wood and analyzes his painting Stone City, Iowa. It discusses that Wood was born in 1891 in Iowa to Quaker parents and was influenced by his rural upbringing. The painting Stone City, Iowa depicts a small Iowa town and is part of Wood's style of portraying everyday rural life in America during the 1930s as one of the Regionalist painters.
Photography out of conceptual (pop & minimal, and performance) art pen lee
This document discusses the rise of photography as a central medium in contemporary art from the 1970s onward. It provides examples of conceptual, performance, appropriation, and documentary photography that moved the medium from the margins to the center of art. The examples show how photography was used to document ephemeral works, challenge notions of originality, engage with mass media and popular culture, and address social and political issues.
81
TRASH
Victor J. Jones
Certain works of art and architecture can be considered trash,
but when is trash art? Spolia and Arte Povera are two exam-
ples at either end of the historical spectrum where refuse is
transfigured into art. Constantine’s triumphal arch in Rome
uses reclaimed sculptural elements from previous buildings.
Luciano Fabro composed sculptures from commonplace
materials and used wares to create works such as Pavimento
(Tautologia). Whether from the spoils of war during Roman
antiquity or resistance to modernism and technology in Italy
during the 1960s, their practices crafted cultural relevance
from discarded matter.
In line with these instances is assemblage art, which has
had a hand in shaping art and architecture in Los Angeles
for almost a century. This essay travels into Watts, moving past
the familiar path of violence in this legendary part of Los
Angeles to revisit experiments with trash that began there in
the 1920s. The story reveals how today a grassroots nonprofit
arts organization, its director, and a handful of architects,
artists, and neighborhood residents are working together to
refurbish a row of dilapidated houses along East 107th Street.
Their collective efforts and participative production weave
art and architecture from detritus and the everyday to build
and sustain an alternative vision for this underserved commu-
nity. The trail of unexpected combinations and juxtapositions
begins at the end of a narrow street under a monument made
of rubbish—the Watts Towers.
While visiting Los Angeles for the first time (to attend the
opening of his 1963 Elvis exhibition at Ferus Gallery), Andy
Warhol bought a sixteen-millimeter sync-sound Bolex camera
and shot his partially improvised riff on the Hollywood
adventures of Tarzan.1 In Tarzan and Jane, Regained, Sort of…,
a free-spirited cast of artists and actors roams the tangled
web of freeways and unlikely destinations that replace the wil-
derness of a jungle. The Beverly Hills Hotel swimming pool
substitutes for a lagoon and the Watts Towers stand in for trees,
1 The purchase of the Swiss black box marked the beginning of a five-year
period during which Warhol directed and produced over sixty experimental
films. For more information about the films of Andy Warhol, consult Andy
Warhol’s Blow Job, by Roy Grundmann, and The Black Hole of the Camera:
The Films of Andy Warhol, by J.J. Murphy.
82
vines, and low-lying flora. Midway through the film, Tarzan rests
with a dog under one of the smaller structures of the Watts
Towers. The narrator whispers, “Jane has been changed into
a dog by the forces of evil.”
Ominous forces are not alien to Watts. The politics that
define and shape the place are murky. Infamously dark
tales of corruption, dubious business deals, discriminatory
policies, and corrosive public services have transformed
the once placid 220-acres of alfalfa fields and livestock farms
from a thriving mu.
The Museum of Modern Art will host an exhibition titled "DISLOCATIONS" from October 1991 to January 1992. The exhibition will feature new installations by seven artists- Louise Bourgeois, Chris Burden, Sophie Calle, David Hammons, Ilya Kabakov, Bruce Nauman, and Adrian Piper. These installations have been created specifically for the exhibition and are intended to challenge viewers' habits of observation and settled attitudes. The installations are spread throughout the museum and range from monumental sculptures to found objects.
FTS E-MAIL [email protected] To [email protected]Record.docxbudbarber38650
FTS E-MAIL <[email protected]>
To: [email protected]
Record 3 of 4
10-14 11:48AM, T#:801
Patron Name: Ho, Tienfong Lib ID#: u 915089328
Patron#: p12947027 Spec Inst.: Journal Article Request
Telephone#: 610-613-2071 Home Lib: Paley Library
Address: 721 Coventry Lane, Phoenixville, PA 19460
BIB#: bl5776153 Pickup Loe: k
TITLE: Art in America; an illustrated magazine.
SELECTED:
Library Depository
ARTICLE: Hess, Elizabeth. A Tale of Two Memorials. v.71
(Apr. 1983), p.120-27.
Nl .A47 v.71(Jan-May1983)
Tue, Oct 14, 2014 at 12:28 PM
erica
; /
Cover: Fri with Monkeys," 1943
Vietnam War Memorial/Louise Bourgeois/Neil Welliver/Morton Scharnberg
Tina Modotti & Frida Kahlo/Robert Longo/Larry Bell in Santa Fe/Josef Hoffmann
Report from Paris: Photography Month/Books/Review of Exhibitions
Artin • er1ca
APRIL 1983
·-----·----------·
A Tale of Two Memorials Elizabeth Hess 120
The history of the newly unveiled Vietnam Veterans Memorial is chronicled in the context of the intense controversy it has generated.
Louise Bourgeois: Gender & Possession Robert Storr 128
A traveling retrospective surveys Bourgeois's long career as avant-gardist and iconoclast.
Terrestrial Truth: Neil Welliver
Welliver' s special brand of painterly literalism presents a nature that outdoes art.
Dona.Id B. Kuspit 138
The Art of Spectacle Hal Foster 144
Robert Longo deploys public images and slick surfaces in seductive simulations of reality.
Carrie Rickey 150 Six-Sided Constructions
Larry Bell's '60s work, permutations on the theme of the cube, are given a then-and-now reading.
Venus and the Stocking Machines Julia Ballerini 154
The first Morton Scharnberg show in 20 years suggests a fresh interpretation of the early 20th-century ''machinist esthetic.''
The Ribbon around the Bomb Michael Newman 160
The politjcally sensitive and strongly feminist works of Frida Kahlo and Tina Modotti are juxtaposed in a current exhibition.
RethinkingJosef Hoffinann
A recent museum show emphasized the formal beauty ofHoffrnann's designs.
DEPARTMENTS
Rejoinder:
Tired Criticism,
Tired "Radicalism" Donald B. Kuspit 11
Review of Books 19
Report from Paris:
Photo-Fever on the
Seine AllenEllenzweig 35
REVIEW OF EXHIBITIONS
New York, Seattle,
Los Angeles, Baltimore,
Fort Worth
Artworld
177
224
Editor: Elizabeth C. Baker
MarciaE. Vetrocq 170
Cover: Detail of Frida Kahlo's Self-Portrait with Monkeys
(entire work at left), 1943, oil on canvas, 32 by 24¥.. inches
(collection Mr. and Mrs. Jacques Gelman, Mexico City).
The painting appears in the exhibition "Frida Kahlo and
Tina Modotti" at New York U Diversity's Grey Art Gallery,
through April 16. Photo Robert E. Mates.
Managing Editor: Joan Simon/ Executive Editor: Nancy Manner I Senior Editors: Ted Mooney, Craig Owens I Associate Editors: Prudence Carlson, Hal Foster I Assistant Managing
Editor: Kathryn Howarth/ Assistant Editor: Robert Fisher/ Designer: Alberto P. Gava.
The road to war, the aesthetics of anguishrosabrito
The document discusses the impact of World War I on art in the early 20th century. The war challenged existing notions of artistic representation and led artists to embrace new styles like surrealism. It also discusses how World War II further influenced art through the rise of propaganda. Total war mobilized entire populations and economies, changing how war was experienced and represented in art.
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.
A.E. Housman was an English poet and scholar born in 1859 in Worcestershire, England. He wrote two poetry volumes, A Shropshire Lad and Last Poems, the latter of which was successful. As a scholar he is respected for his annotated editions of Roman astronomer Marcus Manilius. Housman died in 1936 in Cambridge, England.
This document provides an overview of the history and evolution of figurative sculpture across different eras and cultures. It discusses key developments and influences in pre-historic, Greek, Gothic, Renaissance, modern Western, and Asian eras. Specific works are referenced that demonstrate dominant styles and concepts within each period, such as emphasis on philosophy in Greek sculpture, use of spirals in pieces like Venus de Milo, and emphasis on simplicity and posture in pieces like the Miroku Bosatsu statue from Japan. The document also contrasts Western and Eastern approaches to depicting the five natural elements. It examines the impact of African art on modern sculptors like Picasso and changing styles in the 20th century including Cubism.
Modernism in Art: An Introduction: Revolution and rebuilding, Constructivism...James Clegg
This document discusses several early 20th century art movements that sought to make art more socially engaged, including Russian Constructivism, De Stijl in Holland, and the Bauhaus in Germany. It provides background on key figures like Tatlin, Rodchenko, Malevich, Mondrian, van Doesburg, and Gropius who helped establish these movements. It also discusses how their utopian ideals of integrating art and design with industry and daily life were influenced by developments in scientific management and factory efficiency pioneered by Taylor and Ford.
This exhibition at the Neuberger Museum of Art features Latin American art from the early 20th century to the present. It includes renowned early 20th century artists like Manuel Alvarez Bravo and Wifredo Lam alongside contemporary artists. In the first half of the 20th century, Latin American artists began developing strategies to define their identity and modernity through their experiences abroad. By the 1960s, a new generation challenged isolation and sought broader global influences. The show includes works from important movements like Kinetic and Op art by artists like Jesus Rafael Soto and Carlos Cruz-Diez. It brings together this selection of Latin American art for the first time.
Death in AmericaAuthor(s) Hal FosterReviewed work(s)So.docxtheodorelove43763
Hal Foster analyzes Andy Warhol's early work "Death in America" which depicted images of death and disaster. Foster argues that previous interpretations viewed the works as either purely referential to real events, or as completely detached simulacra with no meaning. Foster proposes considering the works through the lens of "traumatic realism", where Warhol experienced shock from encountering death and trauma in American society, and reflected it in his repetitive, detached style. This perspective moves beyond viewing the works as either purely referential or simulacral, and considers how they engage with traumatic real experiences through a shocked and repetitive lens.
This document provides information about events and an exhibition at the Mary and Leigh Block Museum of Art at Northwestern University titled "The Left Front: Radical Art in the 'Red Decade,' 1929-1940". It includes details about lectures, film screenings, performances, and the opening related to radical art of the early 20th century. Generous support for the exhibition is provided by several foundations.
Dadaism emerged as a reaction against World War I and the social upheaval that followed. Beginning in Zurich in 1916, Dada spread to other cities and rejected reason, logic, and aestheticism in art. Dadaists used absurdist works, performances, and readymades to protest militarism, nationalism, and social conventions. The most influential was Marcel Duchamp, who developed the concept of the readymade by declaring mass produced objects as art. Dadaism rejected social norms and sought to subvert established artistic techniques and expectations.
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Identity in the contexts of memory, remembrance and ceremony
1. [1]
Susan Hiller’s Monument: identity in the
contexts of memory, remembrance, and
ceremony
Lee Hutchinson, MA Student
The Nottingham Trent University
MA Museum and Heritage Management
School of Arts, Communication and Culture
December 8, 2004
Introduction
This essay seeks to demonstrate how the artist Susan Hiller’s installation, Monument
(1980-1981) can be used to explore the theme of identity. Following an introduction
to both the artwork and the memorial (or monument) on which it is based, this theme
will further be examined in the related contexts of memory, remembrance, and
ceremony. Finally, a conclusion will be drawn in the light of findings made.
2. [2]
Introduction – Monument (1980 – 1981)
In order to explore this theme, it is essential to understand how Susan Hiller’s
Monument is both constructed and presented. An understanding of the distinction
between ‘monument’ and ‘memorial’ will prove useful at the outset, since the artist is
clearly aware of it herself. Burch provides workable definitions:
memorial (in which the physical shape is… imbued with meanings and
appreciated as such)
and
monument (where little attention or awareness is paid to any commemorative
significance) (Burch, 2002: 364)
Hiller’s Monument consists of forty-one larger than life-size colour
photographs of nineteenth-century plaques, which commemorate lost lives, mounted
on a whitewashed wall. Each one of these represents a year in the life of the artist,
who was forty-one in 1982. (Hiller, 1986: [14]) They are assembled in the shape of a
rhombus. [Fig. 1] In front of the photographs is a park bench, with its back facing the
wall. Upon the bench is a set of headphones and a tape recorder. Visitors are invited
to wear the headphones and listen to the voice of the artist:
Do the dead speak to us? This is my voice, unrolling in your present, my past.
I’m speaking to you from my hereafter, the here-after. I’m an audible, raudive
3. [3]
voice. We could exist forever, inscribed, portrayed as inscriptions, portraits,
representations. I’m representing myself to myself and for you to you. This is
my voice. Now this voice will speak to you about the ideology of memory, the
history of time, the ‘fixing’ of representation… Monument represents
absences. These are representations of those who have gone… Absence is a
metaphor of desire. Representation is a distancing in time and space. It’s a
‘regeneration’ of images and ideas. Time can’t exist without memory.
Memory can’t exist without representation. (Soundtrack of Monument, cited in
Hiller, 1986: [36])
Fig.1 Monument 1980-1981,41 C-type photographs, audiotape, park bench; exists in three
versions, ‘British’ (illustrated) overall size 15' x 22'; ‘Colonial’, overall size 7 ½' x 15’; ‘Other’,
overall size 7' x 14 ½' [source: https://elearn.ntu.ac.uk/02VLP/2004%20Modules/Level%204/
HERI41001_0/01/monument.ppt]
4. [4]
The photographs in Hiller’s Monument were taken of plaques that are still extant in a
covered gallery in Postman’s Park in London. The park’s name derives from the post
office which once formed its southern boundary. The plaques form part of the Watts’
Memorial to Heroic Deeds. (Roberts, 1997: 29)
In order to unpick the numerous layers of Hiller’s work, it is necessary to have
an insight into the origins of the memorial on which it is based; while Monument is
ironic in its presentation, its meaning, as with any object, becomes more readily
accessible once the observer is equipped with supplementary ‘inside’ information.
The Watts Memorial to Heroic Deeds
George Frederic Watts (1817 – 1904) was, in the late nineteenth century, ‘the most
famous painter in Britain’. (Roberts, 1997: 29) The fact that he is little known in the
twenty-first can largely be attributed to the cataclysmic intervention of the First World
War, by the end of which his allegorical and mawkish paintings (by modern
standards) seemed glaringly inappropriate. (Roberts, 1997: 29) Thus, as the tastes of
the nation shifted – from Victorian melodrama to Dadaism and the surreal – Watts
was jettisoned into obscurity. Along with his paintings, so too his greatest project was
forgotten – that of his memorial in Postman’s Park.
Watts was a socialist, a believer in ‘Art for the Good’ (Roberts, 1997: 29). He
conceived his Heroic Deeds project as a means of commemorating unsung heroes –
primarily the labouring classes, whose deeds he felt were paramount in the making of
a nation. In an attempt to seek funds, he proposed to install the memorial in the year
of Queen Victoria’s golden jubilee – 1887 – thereby serving two purposes – that of
5. [5]
preserving the memories of his folk heroes and commemorating the fiftieth
anniversary of the queen’s accession to the throne (it also served an unmentioned
third – that of memorializing his own life); but his efforts were in vain: the funds
could not be found. (Roberts, 1997: 29)
Not to be deterred, Watts took it upon himself to build the memorial. On 30th July
1900, Postman’s Park was opened to the public and the memorial unveiled.
Fig.2 21st-century photograph of Postman’s Park and the Watts Memorial to Heroic Deeds
[source: www.thejoyofshards.co.uk/london/tiles/ppark/index.shtml]
At first, it consisted of thirteen plaques; Watts died in 1904, but his wife
continued with the work, contributing another thirty-four. Five more were unveiled in
1930. Since then, only one more has appeared and there is still space for at least
another ninety (Blunt, 1989: 218-219) although it is not likely that any further plaques
will be installed. In the present day, the memorial is largely greeted with indifference.
6. [6]
Hiller herself observed, when photographing the plaques, that visitors to the
park were blithely unaware of the stories that surrounded them:
…what struck me was that they had been sat in front of these perfectly visible
objects for years and years, and the objects had been… invisible. (Hiller, cited
in Bradley, F. et al 1996: 77)
The plaques, however, evoke astonishing memories of a bygone era [see Fig. 3] Take,
for example:
THOMAS GRIFFIN / FITTERS LABOURER / APRIL·12·1899 / IN A /
BOILER EXPLOSION AT A / BATTERSEA SUGAR REFINERY / WAS
FATALLY SCALDED IN / RETURNING TO SEARCH / FOR HIS MATE
SARAH SMITH PANTOMIMEARTIST / AT PRINCE’S THEATRE / DIED OF
TERRIBLE INJURIES RECEIVED / WHEN ATTEMPTING IN HER
INFLAMMABLE DRESS / TO EXTINGUISH THE FLAMES / WHICH
HAD / ENVELOPED HER COMPANION / JANUARY·24·1863
ARTHUR STRANGE / CARMAN OF LONDON AND / MARK
TOMLINSON / ON A DESPERATE VENTURE / TO SAVE TWO GIRLS
FROM A / QUICKSAND IN LINCOLNSHIRE / WERE THEMSELVES
ENGULFED / AUG 25 1902
7. [7]
Fig.3 Detail from Watts Memorial to Heroic Deeds [source:
http://www.thejoyofshards.co.uk/london/tiles/ppark/index.shtml]
Yet Hiller is unimpressed, finding the plaques androcentric, reminiscent of an
oppressive patriarchy and the Christian ‘heroic’ (Hiller, cited in Rawson, 2003: 4-5) –
a harsh indictment perhaps, given that the inscriptions commemorate the valorous
deeds and tragic deaths of both sexes; in the context of the times in which it was
created, the inclusion of the labouring class, among them women and children, is
noteworthy and reflective of a conscious commitment to inclusivity (however
misguided) on the part of George and Mary Watts. It is worth noting that Hiller’s
Monument is equally selective, consisting almost entirely of male-centred plaques,
indicative perhaps of a censorious and manipulative design stemming from an over-
eagerness on her own part to expose the perceived failings of her predecessors.
8. [8]
Memory
Nonetheless, Hiller’s point seems to be that no matter how heroic the deed, no matter
how well-meaning the memorial, in the fullness of time all will be forgotten and
rendered futile: living memory will fade and social tastes, attitudes and values, rather
than remaining fixed (as the inscriptions on the wall) will shift and continue to shift in
unpredictable ways.
Inevitably, the progress of time will lead to the alienation of identity and the
loss is cyclical and wholesale. As if to emphasize this point, Hiller deliberately places
the park bench in front of Monument with its back to the plaques. [Fig. 4] When the
visitor sits on the bench, the inscriptions are out of view – just as they are in
Postman’s Park. Though the experience of Monument mirrors the experience of being
seated in the park, Hiller’s contrivance imbues the bench with a greater significance:
in the neutral space of the gallery, its juxtaposition with the memorial amplifies the
relationship between past and present, and in a momentous revelation both the inanity
of fixed representation and the evanescence of memory become glaringly apparent –
thereby validating Hiller’s point – that memory is unable to exist without
representation, yet representation ultimately retains little or no meaning at all.
Fig. 4 Monument 1980-1981,‘British’
version; person seated on park bench
[Source: www.iniva.org/
archive/resource/155]
9. [9]
This irreconcilable division between past/present and the subsequent failure of
memory/identity in the fixing of representations is explored by Burch in an essay
concerning a series of commemorative plaques in Nottingham (Burch, 2001). Burch
tells how seven sculpted portraits of poets local to Nottingham were erected in the city
between 1902 and 1903 according to the last wishes of William Stephenson Holbrook
(1826-1900). He explains that this celebration of local worthies
sought to define Nottingham as an ‘imagined community’ posited within the
nation. (Burch, 2001: 155)
The narrative of the commemoration was intended to provide a ‘communal identity’
(Burch, 2001: 155) and yet it was conceived in the mind of a single individual. A
similarly egocentric motivation is evident in the Watts Memorial, in which the
narrative seeks to create an identity not only for a community of unsung Christian
heroes, imagined and personally selected by Watts, but for the creator of the memorial
himself. A comparison can again be drawn with the Holbrook bequest; Burch
explains that Holbrook:
sought to guard his evanescent individuality from future neglect by
interweaving his own identity within a collective narrative. (Burch, 2001:155)
Holbrook could not have predicted that his painstaking efforts would be in vain. And
the same can be said of Watts and a whole host of Victorian benefactors, eagerly
engaged in commemorative projects upon the death of the queen and the turn of the
new century (Burch, 2001: 165). Who, in 1900, for example, could have foreseen the
10. [10]
advent of the First World War, in which millions would lose their lives, and in which
social structures would change forever? And it is precisely this handicap – this
inability to predict the future – that renders futile the urge for fixed identity in the
‘eternity’ of collective memory. Identity retains its meaning only in the immediate,
and even that is in a continual state of flux. As Heraclitus (c.535-475 BC) an ancient
Greek philosopher pertinently observed:
You cannot step into the same river twice (Heraclitus, cited in Graham, 2002)
or, as Hiller herself concludes:
Identity is a collaboration. The self is multiple. (Hiller, 1986: [10])
It comes as no surprise then, that a hundred years after its installation, the
Watts Memorial to Heroic Deeds is largely ignored and overlooked. Nor is it a
surprise that six of the seven poets in the Holbrook bequest are all but forgotten (the
present exception being George Gordon Byron). One may surmise with near certainty
that of all the statues and sculpted portraits of the nineteenth century the large
majority will mean little or nothing to the layperson of the twenty-first.
As for Hiller’s Monument (1980-1981), the artist produced three separate
versions for three separate communities: ‘British’, ‘Colonial’, and ‘Other’; with each
community, there is a reduction in the size of the installation, from the largest
appearing in ‘British’, to the smallest in ‘Other’: a sardonic reflection on the implicit
racism and supremacism inherent in the dominant voice of British Empire.
11. [11]
Hiller’s central message though, and her only obvious piece of advice, can be
found in an eye-catching plaque (or more accurately photograph) at the centre of the
installation. A scrawling piece of graffiti declares: ‘Strive to be your own hero.’ This
statement, striking with the vibrancy of a recent punk past, an emphatic subversion of
the dominant voice of empire, is possibly the most powerful comment of the work,
suggesting that as human beings we would better serve ourselves by seeking to grasp
an inner, individuated strength, a strength that thrives without the need for external
recognition or accolade for well-intended deeds, a strength that equips us with an
automatic sense of self-worth and equal entitlement to roles traditionally held by a
culturally nepotistic elite.
Remembrance
And yet, despite Hiller’s brilliant exposition of the fundamental flaws of fixed
representation, Monument contains an inevitable paradox. In representing the plaques
of the Watts memorial, it regenerates the very ideas that Watts himself intended to be
conveyed in the original. As Brett explains:
Hiller fragments and dissolves the spatial boundaries… in order to redefine the
relationship between actual and imaginative space. (Brett, 1991: 137-138)
In reproducing the text contained on the walls of the memorial, shifting the reference
points of time and space and pasting them onto the blank wall of the present, Hiller
propels these objects into current conscience. Monument not only supersedes Watts’
12. [12]
original, but gives it a fresh validity; by ‘resurrecting’ the lives of those
commemorated, Hiller extends Watts’s motivations, not only preserving but re-
enforcing the representations of the dead. As she says (referring to one of the names
on the plaques):
Amelia Kennedy in the body nineteen years… as a representation 109 years.
(Hiller, 1986: [10])
She has breathed new life into the portraits which ironically have endured longer than
the memories of the lives of the individuals themselves.
In a final act of self-defence, perhaps, Hiller takes a significant step to ensure
that Monument is a conscious testament, a ‘registration’ (Hiller, 1986: [10]) to her
own life – in the symbolic representation of forty-one photographs and the recording
of her own voice on the tape. It is therefore not only an ironic monument to the limits
of human ambition and the ultimate triumph of oblivion, but a functional memorial to
a living person – a living piece of heritage. When the visitor sits on the bench and
listens to the tape, he or she becomes an active participant in the ritual of
commemoration – in just the same way that a visitor to the Cenotaph on
Remembrance Sunday, for example, will participate in events in the present while
attempting to resurrect events from the past. As Einzig observes (Einzig, 1991: 63),
in Hiller’s work there is no ‘objective reality’ – a view shared by the artist:
…you see the bench… and then if you choose to involve yourself further you
sit down…. at that point of course… you become a performer… a live body
13. [13]
in front of this wall which discusses dead bodies. And that’s the way that piece
works. (Hiller, cited in Rawson, 2003: 5)
Ceremony
The component of performance, often public and often central to acts of
remembrance, manifests with varying degrees of theatricality. Why, if grief is
ingenuous and heartfelt, there should be a need for performance – a contrived and
public presentation of drama – is an interesting question to explore. Take, for
example, those who commemorate the life of King Charles I (1600-1649) by laying
wreaths on each anniversary of his death at the foot of his statue in Charing Cross.
[Fig. 5] To many, this act may seem absurd – in the same way that it might be
ludicrous to remember, for example, ‘those who fell at the battle of Thermopylae in
the 5th century BC’ on Remembrance Sunday. Yet for the performers of this ritual, in
this case the Royal Stuart Society, the ceremony is imbued with ostensible meaning.
In the light of Hiller’s Monument, it becomes apparent that the act of
remembrance rarely stems from an altruistic aspiration to resurrect the dead; a surface
appearance of compassion may belie an egocentric inclination to seek to negate a
seemingly insufferable sense of absence. Might it be then that the urge to remember
is driven by an unconscious fear of the loss of self, and in instances where an
individual has no direct or obvious means of dispelling that fear, he or she will find
the appropriate comfort – whether that be the comfort of connecting with the familiar
– such as the memory of a recently deceased family member – or, in extreme cases,
the comfort of fabricating a link with the unfamiliar – in the act, for example, of
14. [14]
‘remembering’ a monarch who died over three-hundred years ago? But if this is the
case, the need for ceremony remains unexplained.
If, as Cosgrove suggests, ritual and ceremony are often used to ‘legitimate the
institutions of the state’ (Cosgrove, cited in Burch, forthcoming 2005: 3) or indeed
any politicized organization, then in the case of the Royal Stuart Society the ceremony
may well be the only means of legitimating the Society’s very existence. A view put
forward by Cannadine would support this hypothesis, contending that elites often
consolidate their ‘ideological dominance by exploiting pageantry and propaganda’.
(Cannadine 1983: 104) What is more, when pomp and ceremony surround the death
of a monarch, it may be regarded as
… a requiem, not only for the monarch himself, but for a country as a great
power. (Cannadine 1983: 105)
It would seem then that the motivation of the Royal Stuarts in their act of
remembering King Charles I is likely to be political, the present-day ‘mourners’ not
performing their theatrical and austere display of commemoration in order to assuage
any emotive or personal sense of grieving, but rather to make a political comment on
the state of the nation’s constitution. It would appear (though the author cannot claim
to comprehend the motivation entirely) that they are aggrieved at the notion of
democratic governance by parliament and would in fact rather be ruled by an autocrat
who believes in the ‘divine right of kings’. A visitor to Charing Cross on 30th January
1988 described the scene:
15. [15]
A chaplain said prayers, soldiers from the Royal Horse Artillery sounded their
trumpets and the link with Scotland was confirmed by the presence of a piper.
(Blackwood, 1989: 23)
Evidently for some, perhaps for those harbouring the most intimate memories of the
centuries-dead Stuarts, the event was charged with an emotional intensity the like of
which had not been felt since the previous year’s act of remembrance.
Fig. 5 The ceremony of remembrance. On 30th January each year, the anniversary of the death of
King Charles I, the Royal Stuart Society lays wreaths at the foot of his statue in Charing Cross.
[source: Blackwood, 1989:23]
However, before all forms of ceremony are dismissed as disingenuous or
absurd, it is worth recalling the diverse range of ceremonious acts. While some are
carried out with the hope of resurrecting past events or sustaining the status quo,
others are conducted with quite the reverse intention: in remembering world-wide
16. [16]
conflicts, for example, and the lives of those who fell, whether done privately in
solitude or ritually en masse, the past is regenerated with the intention of ensuring that
the tragedies of that past are never repeated. Though this hope may seem somewhat
forlorn, there is no doubt that the attitudes of the dominant powers have shifted over
previous decades – from the dispassionate and imperious to the PR-conscious and
placatory. This is evident, for example, in NATO’s continued efforts to ensure that
their ‘laser-smart bombs’ hit targets with ‘pinpoint accuracy’, their strategies designed
to keep ‘collateral damage’ to a bare minimum. Of course, these ‘benign’ intentions
are frequently undermined by the failure of ‘laser-smart bombs’ to hit their targets and
the resulting deaths of thousands of civilians, but nonetheless the shift in attitude, no
matter how slight or cynical, is a significant move away from the jingoistic and
unashamedly imperialist attitudes of the past; and ceremonious remembrance has at
least played its part in coercing a political necessity for these less openly belligerent
attitudes.
As George V said while visiting the First World War cemeteries of Flanders:
We can truly say that the whole circuit of the earth is girdled with the graves
of our dead… and, in the course of my pilgrimage, I have many times asked
myself whether there can be more potent advocates of peace upon earth
through the years to come, than this massed multitude of silent witnesses to
the desolation of war. (King George V, 1922; cited at CWGC [online])
The conciliatory and transformative potential of remembrance is irrefutable.
17. [17]
Conclusion
To conclude then, Hiller’s Monument raises many contentious issues – issues that are
not on the margins, but at the core of Britain’s built heritage. It is clear, as Hiller
states, that ‘Memory can’t exist without representation’ (Soundtrack of Monument,
cited in Hiller, 1986: [36]) yet representation, when fixed, does not retain identity,
meaning or purpose in the ‘fullness of time’, the ‘fullness of time’ arrived at when the
past has passed from living memory – within only a few generations.
The streets and public spaces of the United Kingdom are replete with statues,
portraits and inscriptions pertaining to an obsolete mode of expression. Their
purpose, which was to regiment communities according to the parameters of the
Establishment in which they were cast, no longer applies. These are not memorials,
but monuments, whose identities and place are vacuous in present-day consciousness.
In the light of this, there is an argument for corrective and preventive action in
the conceptualization and development of public space – a regeneration that would
require the restructuring of space through tangible public art; and, in order for that art
to be tangible and accessible to a multiplicity of cultures, it must necessarily be
collectively devised, transient and eclectic. If equality and social inclusion are the
virtuous cornerstones of democracy, then anything less would be undemocratic.
18. [18]
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