Postmodernism
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Raymond Williams believed that everything in society is worthy of study as part of culture and that there is no real difference between high culture like art and popular culture like media. Examples are provided of how high and popular culture can mix, such as an anime version of Shakespeare's Romeo and Juliet and how Salvador Dali incorporated popular graffiti into his painting of the Mona Lisa. Marcel Duchamp's "Urinal" artwork also blends popular culture, using a common urinal, with high art by placing it in a gallery. Culture is shown to have rules through various activities, though postmodernism challenges traditional rules and boundaries of culture.
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![Raymond Williams is our hero! ,[object Object],There is no real difference between high culture (e.g. art) and popular culture (e.g. media).](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)
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Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
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cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
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question 2:As it's Black History Month (when is white history month? Every other one?) and you may have seen that African-American singing was my Ph.D. topic and scholarly primary-area within music history, I'd like to invite everyone to consider the particular presence of continued "race" inequities in early-20th-century arts and politics over the globe (as we discussed slaves in Greece and the portrayal of lower classes in the realist strain within romanticism). In the U.S. what used to be referred to as "the black problem" has been particularly thorny.
Through most of the 19th century, by far the most-popular multimedia performance-form (music, dance, jokes, costumes) in the U.S. (with some popularity in England and elsewhere) was blackface minstrelsy, where both white and some black performers (mostly male) "blacked up" using burnt-cork and oil over their faces, while exaggerating and reddening their lips, wearing white gloves, etc., a disgusting but fascinating deep strain at the root of American popular culture.
But this thread is about roughly 1890-1939; what are some ways that African-Americans began to develop their own subcultures both in the South (where the vast majority of African-Americans lived in earlier, slave years) but also growing in the North (particularly business and industrial centers). What are some artistic, political, and philosophical sub-cultures (circles of friends, enemies, and patrons) under cultivation in these years, and what are some leading products of these circles? (For instance, were the patrons of most black art also black, and how did differences of class and ethnicity tend to affect the terms of this patronage?)
As always, be specific and avoid clichés, triteness, and hyperbole/exaggeration. Consider also the emergen ...
Propaganda art or advertising
- Propaganda is a form of communication that aims to influence an audience's attitudes toward a cause or position through selective use of facts and appeals to emotion rather than reason. It often uses omissions or loaded messages to produce an emotional response that furthers a political agenda.
- Art is a broader concept that encompasses diverse human creative activities like music, films, paintings that are meant to affect the senses or emotions. The meaning of art is explored in aesthetics philosophy.
- Advertising aims to persuade an audience to take action regarding products, ideas or services, commonly to drive consumer behavior toward commercial offerings. Political and ideological advertising are also forms of advertising.
Art for change It is often taken for granted that art f.docx
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
SociologyExchange.co.uk Shared Resource
This document discusses neo-Marxist perspectives on crime and deviance, specifically the New Criminology approach developed in the 1970s. It analyzes how structural factors like economic conditions, as well as symbolic resistance, influence criminal behavior and societal reactions. Key points discussed include how the New Criminology blended Marxism with labeling theory; how subcultures like Rastafarianism engaged in symbolic resistance against oppression; and how a moral panic around "mugging" in the 1970s UK scapegoated black youths to address social and economic issues.
The Pop Art Movement Essay
The Pop Art Movement began in the 1950s in Britain and the US and lasted until the late 1960s. It featured bold, colorful works depicting popular culture and mass media imagery. A key work was Andy Warhol's 1962 painting Marilyn Diptych, which depicted Marilyn Monroe. The movement reflected the increasing influence of advertising, celebrities, and consumerism in postwar Western culture. While initially popular, it declined as the Vietnam War intensified and social values shifted in the late 1960s.
Subculture
The document discusses several youth subcultures in Russia, including animations (anime fans), writers (graffiti artists), hippies, and ravers. Animations enjoy Japanese anime, manga, and culture. Writers engage in graffiti art and tag public spaces. Hippies followed a counterculture movement in the 1960s promoting peace, love, and understanding. Ravers participate in all-night electronic dance music parties known as raves.
Subculture
The document discusses several youth subcultures in Russia including animations, writers, hippies, ravers, and bikers. Animations are fans of Japanese anime and manga who often cosplay as characters. Writers engage in graffiti art. Hippies emerged in the 1960s promoting peace, love, and anti-war sentiments. Raves originated in the late 1980s involving parties with electronic dance music. Bikers are motorcycle enthusiasts who often join clubs and wear distinctive clothing with symbols.
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questions 1 This week, we look at several examples of early.docx
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