This document discusses what counts as art and explores various examples. It examines how definitions of art and value are socially constructed and can change over time. Folk art is discussed as a category that is defined more by the social position of the maker rather than objective qualities. The document also profiles several self-taught artists like James Hampton and Howard Finster whose outsider art gained recognition later in their lives. Prestige in the art world is influenced by agreements among institutions, critics, and the market.
In this class, we tackle the grand question: what is art, anyway? How should we define it? We use the concept of "prestige" articulated by Tim van Laar and Leonard Diepeveen to help us understand the social stakes of the definition.
In this class, we tackle the grand question: what is art, anyway? How should we define it? We use the concept of "prestige" articulated by Tim van Laar and Leonard Diepeveen to help us understand the social stakes of the definition.
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In this module we focus on what is known as the "institutional theory of art." In this view, art status is not a characteristic of the object itself, but of the institutional supports that surround and support it as such.
In this class, we discuss the fame, reputation and prestige of certain artists and the relative obscurity of others. What factors other than quality or talent contribute to an artist's reputation?
In this class we discuss mechanisms of prestige and who is included and excluded from conventional definitions of the art world. Using the work of Howard Becker and the example of folk art, we work toward a more expansive vision.
How Art Works: Week 5 The Rise of the ismsDeborahJ
This lecture will:
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Make connections between historical events and art genres
Encouraged you to think of styles as useful tools for exploration and analysis, rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
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June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
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The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
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2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
3. agenda 1.21.16
what is art? what makes an image or object art or
non-art?
what is folk art? how is folk art different from fine
art?
can great art be made by anyone?
4. what makes art valuable?
• are the most famous artists the best ones?
• are the ones whose art sells for the most money the best
artists?
• if an artist is unknown in the wider society, does that mean
he or she isn’t very good?
• how do we determine value in art? is there a neutral,
value-free way of comparing artists?
5. Leonardo DA VINCI
Portrait of Lisa Gherardini, wife of
Francesco del Giocondo, known as the
Mona Lisa (the Joconde in French)
c. 1503–06
oil on panel
30.3 x 20.8 inches
Acquired by François I in 1518
6. why is the Mona Lisa
so famous?
• because it is the best painting ever made?
• [qualities of object]
• because Leonardo is a genius?
• [qualities of the maker]
• are there other factors that might contribute to
the painting's reputation
7. one answer
It is located in the Louvre, one of the most well-known art
museums in the world. [i.e., it’s benefited from a central art
world location since 1804]
where critics who praise some artists and ignore others have
been able to see it
where art historians have written it into history
where artists have been influenced by it
where art lovers and visitors and tourists have come to see
it and photograph it, and buy coffee mugs and totebags with
this image on it
29. Frank Gallo (1933—
• born 1933 Toledo, OH
• trained as an artist with
early classes at the
Toledo Museum of Art,
Iowa State and
Cranbrook Academy.
• brief period of fame for
lifesize epoxy sculptures
of women during the
1960s
• then returned to
teaching art
31. “The failure of art theory and criticism to talk about prestige is
an oversight with consequences, because the artworld and
art history cannot be understood without understanding how
prestige works, how it is generated and conferred, how it
privileges and excludes, and how it pervades the culture and
induces complicity. Without prestige as part of the analysis,
the important relational, social aspect of art is obscured; the
subtleties of social positioning in art are concealed. Prestige
opens the way for particular ways of understanding art’s
audience. This ranges from articulating social complicity in
elitism and creating value, but also in analyzing how
estimations of value are contested and resisted.”
(Van Laar and Diepeveen, 55)
32. defining prestige
“Prestige, which we define as a system of hierarchies of
agreed-upon social value, is a twofold thing: it is a quality
that people confer on others, but it is also a system
inextricably bound up with that conferral, a system that gives
the rationale for those value judgments."
(Van Laar and Diepeveen, 5)
33. In examining the workings of prestige, this book also deals
with the process of valuation, best and most sharply
understood through the loss of status. It demonstrates how
prestige works, as it disappears, as it eludes one’s grasp and
one is left behind….This dispatch is larger than the
reputations of individual artists: modes of artmaking take a
back seat, subject matters become banal, and forms of
aesthetic experience lose their luster.”
(Van Laar and Diepeveen, 5)
35. conclusion
In any society, some objects are called ‘art,’
others are not. These designations are a
matter of social tradition and convention.
Such labels can change over time as a
society’s values and preferences change.
36. What is visual culture?
• It includes everything that art excludes:
• All the objects that are left out from consideration in the
traditional fine arts (painting, sculpture, architecture)
• things made not for elite but ordinary audiences
• tfhings made not primarily for aesrhetic contemplation but
because they have a use
• technologies/enhancements of vision (for example, scientific
and medical imaging)
• the role of vision in the production of knowledge/power
37. the case of "folk art"
As Vlach points out, the
definitions of folk art are
contradictory.
is it naive, or
sophisticated?
untrained, or skilled?
"Folk art" ends up being
defined by the social
position of the maker,
rather than by any specific
qualities of the object.
40. John Singleton COPLEY
Mrs. Ezekiel Goldthwaite
1771
oil on canvas
50 1/8 x 40 1/8 inches
http://www.mfa.org/collections/
object/mrs-ezekiel-goldthwait-
elizabeth-lewis-32756
41. Ammi PHILLIPS
Lady in a gold-colored dress
Probably New York,
Connecticut, or
Massachusetts, 1835–1840
Oil on canvas
33 1/2 x 28 1/4 in.
42.
43. James Hampton
• 1909-1964
• born in rural South Carolina
• moved to Washington, DC
to live with his brother;
worked as short –order cook
and janitor
• served in WWII in a
segregated unit, 385th
Aviation Unit, maintaining air
strips on Saipan and Guam
• returned to Washington, DC
worked as a janitor for the
GSA
• “Director, Special Projects
for the State of Eternity”
44. gold and silver aluminum foil, Kraft paper over mixed materials
180 pieces in overall configuration: 10 1/2 x 27 x 14 1/2 ft.
Includes plaques, tags and notebooks in a not-yet deciphered
language.
James HAMPTON
The Throne of the Third Heaven
of the Nations' Millennium
General Assembly
circa 1950-1964
45.
46. posted on the wall of Hampton's garage
"Where there is no vision,
the people perish.”
Proverbs 29:18
47. possibly made the first
piece as early as 1945 in
Guam
in 1950, rented a garage
and built a special staging
area inside
collected castoffs/junk from
his job and all over the city
to make this environment
65. Paradise Garden, Pennville, GA
bought 4 acres of
inexpensive land, which he
began to clear and drain
after purchasing.
Began planting, as well as
building walkways and
structures, mostly made of
concrete with embedded
objects. Many sculptures
and structures, including a
chapel he called the
“World's Folk Art Church.”