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.
2. agenda 5.17.16
⢠what is art?
⢠your posts took on a number of key issues:
⢠what media do we want to include? are there
media we want to exclude?
⢠what is the relationship of art to expression? to
communication?
⢠what
⢠can great art be made by anyone? why do some
artists become recognized as great talents, while
others languish?
⢠what is folk art? how is folk art different from fine
art?
3. art: question of media
⢠traditional fine arts: drawing, painting, sculpture,
architecture
⢠performing arts: music, dance, theater,
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 isnât 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. 1503â06
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: location, location,
location
⢠It is located in the Louvre, one of the most well-known art
museums in the world. [i.e., itâs 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
24. Frank Gallo (1933â
⢠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
26. âThe 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 artâs
audience. This ranges from articulating social complicity in
elitism and creating value, but also in analyzing how
estimations of value are contested and resisted.â
(Van Laar and Diepeveen, 55)
27. defining prestige
âPrestige, 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)
28. 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 oneâs grasp and
one is left behindâŚ.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.â
(Van Laar and Diepeveen, 5)
30. conclusion
⢠In any society, some objects are called âart,â
others are not. These designations are a
matter of social tradition and convention.
Such labels can change over time as a
societyâs values and preferences change.
31. 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
32. 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.
47. James Hampton
⢠1909-1964
⢠born in rural South Carolina
⢠moved to Washington, DC
to live with his brother;
worked as short âorder 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
⢠âDirector, Special Projects
for the State of Eternityâ
48. ⢠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
49. 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
50. posted on the wall of
Hampton's garage
"Where there is no vision,
the people perish.â
â Proverbs 29:18
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62. Howard FINSTER
⢠(1915-2001)
⢠born Alabama, one of 13
children
⢠âborn againâ at age 13
and followed call to
become a Baptist
minister
63. Howard Finster ¡
Howard Finster, Man of
Visions. 1988, Wood
Sculpture with paint,
13.00 x 8.38 x 3.5
inches.
67. 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
âWorld's Folk Art Church.â
Creator: Pippin, Horace, 1888-1946
Title
Subject: Painting--United States--20th C. A.D
Collection: ARTstor Slide Gallery
Source: Data from: University of California, San Diego
Creator: Horace Pippin (1888-1946)
Title: Outpost Raid: Champagne Sector
Date: 1931
Location: Origin: West Chester, Pennsylvania
Material: Oil on fabric
Measurements: 18 x 21"
Description: During World War I, Horace Pippin served in the well-known and respected Fifteenth Regiment of the New York National Guard, an all-black infantry unit. The regiment served under French command because of concern over integrating the U.S. Army. Spending more time abroad than any other infantry, its members exhibited enough heroics during the war to be nicknamed the "Hell Fighters" by the Germans. Pippin was wounded and sent home after serving a year. Ten years later, he started painting scenes of his memories of the war, although his right arm had to be supported by his left hand whenever he worked at his easel. By 1937 he was being championed by the mainstream artworld as a true "primitive" and an authentic "naĂŻve." Though the war images were his first subject matter, he also limned landscapes, still lifes, portraits, and political and religious subjects, as well as genre scenes. Outpost Raid: Champagne Sector is an early painting, executed only three years after the artist started to explore paint. The subdued palette of grays, browns, and black is typical of the artist. It is as if the entire confrontation occurs in shadows. Two men are standing in a trench. An American soldier enters from the left; judging by his French helmet, gear, and weapons, he is probably a member of Pippin's regiment. On the right, a German soldier in a pale blue uniform and beret stands beside a sentry box. The scorn on the face of this soldier is the only emotion apparent in the painting, and it creates a vast distance between the two men. Silhouetted and hiding behind a bed of sandbags in the center of the composition are more American soldiers. Even though this is an early work, Pippin seems to have a fair grasp of perspective and composition in handling the landscape. The figures, however, are fashioned in a much more flattened manner. Pippin is considered one of the masters of American folk art. While his war paintings document a particular moment in global history, they also subtly address the issues of race and injustice in American life
Repository: American Folk Art Museum
Repository: Gift of Patricia L. and Maurice C.Thompson Jr.
Accession Number: 1999.25.1
Collection: American Folk Art Museum
Collection: http://www.folkartmuseum.org/
Rights: Courtney Wagner, Manager, Photo Services, American Folk Art Museum, 49 West 52nd Street, New York, NY 10022, Tel: 212-977-7170 ext. 304; Fax: 212-977-8134; cwagner@folkartmuseum.org
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
Creator: Horace Pippin, American, 1888 - 1946
Title: The End of the War: Starting Home
Work Type: Paintings
Date: 1930-33
Material: Oil on canvas
Measurements: 26 x 30 1/16 inches (66 x 76.4 cm)
Description: Full View
Repository: Philadelphia Museum of Art
Repository: Philadelphia, Pennsylvania, USA
Repository: Gift of Robert Carlen, 1941
Repository: 1941-2-1
Repository: http://www.philamuseum.org/main.asp
Collection: Philadelphia Museum of Art
ID Number: 1941-2-1
Source: Data From: Philadelphia Museum of Art
Rights: This image was provided by Philadelphia Museum of Art. Contact information: Ms. Conna Clark, Manager, Rights & Reproductions, Philadelphia Museum of Art, P.O. Box 7646, Philadelphia, PA 19101, (215) 684-7901 (ph), (215) 235-0034 (fax), cclark@philamuseum.org.
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
Creator: Horace Pippin, American, 1888-1946
Title: Supper Time
Date: c. 1940
Material: Oil on burnt-wood panel
Measurements: 12 x 15 1/8 in. (30.5 x 38.4 cm)
Repository: Barnes Foundation
Accession Number: BF985
Collection: Barnes Foundation
Collection: http://www.barnesfoundation.org/
Rights: Image Š 2010 The Barnes Foundation. All Rights Reserved.
Rights: Contact information: Visual Resources Manager, The Barnes Foundation, 300 N. Latch's Lane, Merion, PA 19066; Phone: 610-667-0290 x1044; Fax: 610-664-4026; Email: rights@barnesfoundation.org
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.
Creator: Pippin, Horace, 1888-1946
Title: John Brown Going to His Hanging
Date: 1942
Material: oil on canvas
Measurements: 24 x 30 in
Repository: Pennsylvania Academy of the Fine Arts
Subject: Painting--United States--20th C. A.D
Collection: ARTstor Slide Gallery
Source: Data from: University of California, San Diego
.; 64.135 x 76.2 cm.
Repository: The Phillips Collection
Repository: Acquired 1946
Collection: The Phillips Collection
ID Number: 1572
Source: Image and original data provided by The Phillips Collection
Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.