This document discusses the history and development of installation art and video art. It notes that installation art shifts the viewer's focus from individual art objects to the exhibition context and environment. Installation art invites narrative interpretations, rejects technical specialization, and encourages active participation from viewers. Similarly, early video art involved recording live performances and engaged viewers through its time-based nature. Both media challenged the modernist ideal of the disembodied viewer and promoted more decentralized and interactive spectator experiences.
Minimalism Art Movement - Art Appreciation
A brief overview of the art movement that took place in New York, early 1960s. This movement is apparently a blatant rejection of abstract expressionism.
This document summarizes the differing views of Clement Greenberg and Harold Rosenberg on Abstract Expressionism. Greenberg represented a formalist view that focused on the formal elements of a work like line, color and form. He believed art progressed towards increasing abstraction and purity of form. Rosenberg represented a non-formalist view, emphasizing the meaning and content of a work. He saw the act of painting as more important than the finished product. These divergent views influenced whether art was seen as "art about art" or "art as life" in the 1950s-60s.
The document discusses Post-Minimalist artist Lynda Benglis and her critiques of Minimalism through her sculptures using poured latex and other materials. It notes that Benglis used industrial techniques coded as masculine but created soft, melting forms rather than rigid structures. Her works referenced Minimalist artists like Carl Andre but with malleable materials and invited sexual associations where Minimalism was austere. The document also provides biographical information on Eva Hesse and how her organic, hanging sculptures have been interpreted as a feminist critique of Minimalism's rigid forms.
Sir Joshua Reynolds delivered a series of lectures between 1769-1790 that established British painting theory. He argued that art is an activity of the mind, not just copying what is seen. While influential, his ideas were also controversial and criticized by William Blake and the Pre-Raphaelites.
The California Light and Space movement included artists like Larry Bell, Robert Irwin, and James Turrell who explored light, space, and perception. They used light, glass, and other translucent materials to create immersive installations that blurred the boundaries between object and environment. By manipulating light and optics, they aimed to produce perceptual effects that confounded vision and approached sensory alteration.
Neo-expressionism was an artistic movement that emerged in the 1970s in reaction to abstract art. It focused on using bright colors and rough brushwork. Major German neo-expressionist artists included George Baselitz, Markus Lüpertz, A.R. Penck, and Jörg Immendorff. Their figurative paintings addressed political divisions in Germany. Other significant neo-expressionist movements occurred in Italy and the United States during this period.
The document discusses various methods of forming and fabrication in art and design. It describes additive, subtractive, and constructive processes where material is added, removed, or joined together. Specific examples include sculpting with clay or metal, carving wood, and welding or gluing together pieces. The document also covers found objects, readymades, and using existing materials in new ways through techniques like bricolage. New digital fabrication methods are discussed like 3D printing, laser cutting, and CNC routing that allow designs to be replicated from digital files.
In the early 20th century, the center of the art world moved from Paris to New York. Major developments included Social Realism, Abstraction, Cubism influenced by African art, and the Armory Show which introduced European modernism to America. In the 1950s-60s, Pop Art emerged in response to Abstract Expressionism, appropriating images from popular culture. Other movements included Color Field painting, Earth works, and Dada/Surrealism with its emphasis on the subconscious. Key artists mentioned include Pollock, Rothko, Warhol, Duchamp, Kahlo, and Oldenburg.
Minimalism Art Movement - Art Appreciation
A brief overview of the art movement that took place in New York, early 1960s. This movement is apparently a blatant rejection of abstract expressionism.
This document summarizes the differing views of Clement Greenberg and Harold Rosenberg on Abstract Expressionism. Greenberg represented a formalist view that focused on the formal elements of a work like line, color and form. He believed art progressed towards increasing abstraction and purity of form. Rosenberg represented a non-formalist view, emphasizing the meaning and content of a work. He saw the act of painting as more important than the finished product. These divergent views influenced whether art was seen as "art about art" or "art as life" in the 1950s-60s.
The document discusses Post-Minimalist artist Lynda Benglis and her critiques of Minimalism through her sculptures using poured latex and other materials. It notes that Benglis used industrial techniques coded as masculine but created soft, melting forms rather than rigid structures. Her works referenced Minimalist artists like Carl Andre but with malleable materials and invited sexual associations where Minimalism was austere. The document also provides biographical information on Eva Hesse and how her organic, hanging sculptures have been interpreted as a feminist critique of Minimalism's rigid forms.
Sir Joshua Reynolds delivered a series of lectures between 1769-1790 that established British painting theory. He argued that art is an activity of the mind, not just copying what is seen. While influential, his ideas were also controversial and criticized by William Blake and the Pre-Raphaelites.
The California Light and Space movement included artists like Larry Bell, Robert Irwin, and James Turrell who explored light, space, and perception. They used light, glass, and other translucent materials to create immersive installations that blurred the boundaries between object and environment. By manipulating light and optics, they aimed to produce perceptual effects that confounded vision and approached sensory alteration.
Neo-expressionism was an artistic movement that emerged in the 1970s in reaction to abstract art. It focused on using bright colors and rough brushwork. Major German neo-expressionist artists included George Baselitz, Markus Lüpertz, A.R. Penck, and Jörg Immendorff. Their figurative paintings addressed political divisions in Germany. Other significant neo-expressionist movements occurred in Italy and the United States during this period.
The document discusses various methods of forming and fabrication in art and design. It describes additive, subtractive, and constructive processes where material is added, removed, or joined together. Specific examples include sculpting with clay or metal, carving wood, and welding or gluing together pieces. The document also covers found objects, readymades, and using existing materials in new ways through techniques like bricolage. New digital fabrication methods are discussed like 3D printing, laser cutting, and CNC routing that allow designs to be replicated from digital files.
In the early 20th century, the center of the art world moved from Paris to New York. Major developments included Social Realism, Abstraction, Cubism influenced by African art, and the Armory Show which introduced European modernism to America. In the 1950s-60s, Pop Art emerged in response to Abstract Expressionism, appropriating images from popular culture. Other movements included Color Field painting, Earth works, and Dada/Surrealism with its emphasis on the subconscious. Key artists mentioned include Pollock, Rothko, Warhol, Duchamp, Kahlo, and Oldenburg.
This document provides tips for creating an effective PowerPoint presentation for an art department class. It recommends organizing files, using a blank template without existing designs, and collecting all information before starting. For the presentation content, it suggests considering a chronological or thematic structure, including brief biographies, comparisons of artists, and discussing how research could influence one's own work. Design tips include using neutral colors, generic grids, minimal text, high quality images, consistent fonts, and an overall simple composition. It also provides tips for effective delivery, such as emphasizing main points and drawing conclusions, as well as ensuring evidence of the work is printed and saved.
This document provides an introduction to the course "Postmodernism in Art" taught at the University of Edinburgh. It discusses key concepts needed to understand postmodernism such as modernity, modernism, and Clement Greenberg's formalism. It outlines how postmodernism emerged in the 1960s through movements like Pop Art, Minimalism, and Conceptualism. The document also examines debates around defining postmodernism and discusses how postmodern art questions aspects of modernism like artistic purity and the separation of art from everyday life.
Photography DB3 - Shooting The Truth / Week 3Dyllin Aleluia
Photography DB3
Dyllin Aleluia, Michael Bastin,
Matthew Brackett, Rhys Davis
When something is reproduced for so many times is that art? What's the importance of the mechanical reproducibility of the art? What was the impact on mechanical reproducibility on the society?
Is photography art, or contribution to the art? Is it just a tool used by artists?
How and why Henry Pitch Robinson created Feading Away? What was the reason?
Photography has impacted the world of art and influenced some changes in the area of accessibility to art. If mechanical reproduction created revolution, what is happening now with the digitalization?
While abstract expressionism dominated the mainstream art world in the 1950s, many American artists continued to work in a figurative style that had been marginalized, such as Edward Hopper, Norman Rockwell, Andrew Wyeth, Fairfield Porter, Milton Avery, and Larry Rivers, whose controversial paintings pushed boundaries through their subject matter and styles. On the west coast, the Bay Area Figurative School emerged, including David Parks and Richard Diebenkorn, while in Chicago, Leon Golub produced tortured figurative images dealing with psychological and political themes. These artists demonstrated that figurative art still had an important role to play despite the
Eva Hesse used abandoned factory materials like cloth-covered electrical wire, masonite, latex, fiberglass, and plastics in her work. The document discusses one of her exhibitions at the Fischbach Gallery in 1968 and her desire for her work to transcend preconceptions and categories. It also references her fascination with the properties of different materials like latex and fiberglass, as well as themes of body forms and gender. Several of her specific works from the 1960s are mentioned.
The document summarizes the Brazilian Neo-Concrete art movement which emerged in the 1950s, influenced by European geometric abstraction. Key artists discussed include Max Bill, Helio Oiticica, and Lygia Clark. Oiticica began creating interactive "Neo-Concrete" works and later his "Parangole" costumes. Clark also made geometric sculptures that invited interaction, transitioning in 1964 with her piece "Caminhando" involving a Möbius strip form.
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 document discusses key principles of the design process, including:
- Design is the planning and organization of visual elements to communicate an idea. The design process involves seeking visual solutions to problems.
- Sources of inspiration include nature, artifacts, history, and culture. Designers look to these sources as well as revising their own work through trial and error.
- Effective design balances the content, or message, with the form, or visual presentation. Design communicates through the arrangement of visual elements.
- Critique is an essential part of the process, allowing designers to improve their work through feedback and revision. Constructive criticism examines the work through description, analysis, and interpretation.
The document discusses the critical reception of Abstract Expressionism from its emergence in the late 1940s through the 1950s and beyond. Initially, most viewers did not consider it "art" but influential critics, collectors, and institutions like MoMA provided support. As the Cold War intensified, the avant-garde nature of Abstract Expressionism became linked to American values of freedom and individualism, and the US government promoted it abroad as a symbol of American ideals in contrast to Soviet restrictions on artists. However, the artists themselves claimed to be free from political ideology.
Abstract expressionism and the rise of formalism copyDeborahJ
Modernism refers to a 20th century movement in the arts that rejected realism and romanticism. Abstract Expressionism was an influential modernist movement in American painting in the 1940s-1950s. It emphasized non-representational forms and the physical act of painting. Critics like Clement Greenberg played a key role in promoting Abstract Expressionism by emphasizing its formal qualities and "purity" over other concerns. Greenberg argued that each artistic medium should focus on its unique properties to avoid becoming kitsch. This view helped establish Abstract Expressionism as the leading avant-garde movement in American art during the Cold War period.
Postmodernism emerged in the late 1960s as a reaction against modernism's rigidity and lack of context. It manifested in new art forms like conceptual art, minimalism, and performance art. Postmodernist architecture moved away from modernism's formal rules by incorporating symbolic references and classical elements. Major postmodern architects included Venturi, Moore, Piano, and Johnson, whose works emphasized eclecticism and challenged notions of universal truths. Postmodern practices in the visual arts involved appropriating and questioning existing works through the works of artists like Kruger, Sherman, and Levine.
Photographer Arnold Newman would employ backgrounds in his portraits to provide context about the subject. He disliked "cold studio portraits" and preferred to show subjects in their natural surroundings. The artist Ana Mendieta created ephemeral works by leaving imprints of her body in landscapes like snow, mud, and sand. Richard Long photographs tracks he makes walking or arrangements of natural materials. Michael Kenna's minimalist landscapes seem to depict dreamlike or half-remembered scenes that represent the human experience of encountering nature.
The document provides an overview of art history from 1960-1964, focusing on the development of Pop Art and other postmodern movements. It discusses how artists like Roy Lichtenstein, Claes Oldenburg, and Andy Warhol incorporated popular culture imagery and challenged notions of what constituted art. Key concepts examined include Clement Greenberg's theory of modernism, the blurring of boundaries between art and life in works by Allan Kaprow and Fluxus, and Warhol's commentary on mass media and the simulacrum through his repeated depictions of consumer goods and images of death.
Chapter 20 playing by the rules1960s abstractionPetrutaLipan
Clement Greenberg was the most influential art critic of the 20th century who shaped Abstract Expressionism through his support of artists like Jackson Pollock. He focused on formal elements of art and introduced concepts like "kitsch" and "flatness." Artists in the 1960s like Helen Frankenthaler, Morris Louis, and Kenneth Noland built on Greenberg's ideas and developed Color Field painting using techniques like Frankenthaler's soak-stain method. Minimalism emerged in the 1960s with artists like Donald Judd, Frank Stella, and Robert Morris rejecting metaphorical associations and symbolism in their work.
Post-Minimalism emerged in the late 1960s as a reaction against Minimalism. Artists rejected Minimalism's impersonal and geometric forms in favor of more open and process-oriented works that often reflected political and social concerns of the time period. Known as Process Art, Post-Minimalism emphasized the processes and materials used to create art, rather than predetermined compositions, and incorporated unconventional methods focused on change and transience.
Dianne Smith has been documenting her artistic process, which is unusual for her. She shares images of artworks she has created using found materials like spices, dirt, and discarded objects. Many of the pieces are works in progress that explore her relationship with the materials and memories they evoke. For example, a piece made from old belts made her reflect on how her body has changed over time. The process has helped her uncover things about herself as she continues to examine her work.
This document summarizes Dianne Smith's process of documenting and examining her artwork called "Remix Repurpose Studio". It describes how she is working in a way she doesn't usually by documenting her thoughts and materials which include rope, burlap, cloth and boxes. The process has helped her uncover things about herself. She discusses her use of belts, t-shirts, and fabrics from memories and objects that hold memory for her. The document examines her choices in artwork and waste.
The Primal One experimental theatre project has been creating original multimedia shows since 2010 that ask philosophical questions. Over 6 seasons they have staged 6 original creations with 19 events featuring 16 artist-actors from 15 nationalities. Their productions are minimalist, multi-media shows performed in unconventional spaces that challenge audiences' perceptions.
The proposed interactive video installation would show looped footage of a forest or landscape projected on a wall. A button would allow viewers to trigger virtual flames erupting across the projection, revealing a desaturated version of the landscape through the flames. This exaggerated effect is meant to make viewers consider their personal impact on the planet by contributing to its destruction yet doing nothing to stop it. Precautions like fire safety equipment and personnel would be required given the pyrotechnic element. The goal is to raise awareness of issues like deforestation and climate change at a nature preservation site like the Eden Project through an immersive experience.
The presentation provides details of a proposed video art installation called "Crying". It will be projected onto a radiator at York College. [The artists] have researched similar works, technical requirements, and target audiences. They have developed plans for production roles, schedules, and have considered risks. The piece aims to represent technology and worship in an abstract way through pulsating imagery. It will loop to allow continuous viewing.
This document provides tips for creating an effective PowerPoint presentation for an art department class. It recommends organizing files, using a blank template without existing designs, and collecting all information before starting. For the presentation content, it suggests considering a chronological or thematic structure, including brief biographies, comparisons of artists, and discussing how research could influence one's own work. Design tips include using neutral colors, generic grids, minimal text, high quality images, consistent fonts, and an overall simple composition. It also provides tips for effective delivery, such as emphasizing main points and drawing conclusions, as well as ensuring evidence of the work is printed and saved.
This document provides an introduction to the course "Postmodernism in Art" taught at the University of Edinburgh. It discusses key concepts needed to understand postmodernism such as modernity, modernism, and Clement Greenberg's formalism. It outlines how postmodernism emerged in the 1960s through movements like Pop Art, Minimalism, and Conceptualism. The document also examines debates around defining postmodernism and discusses how postmodern art questions aspects of modernism like artistic purity and the separation of art from everyday life.
Photography DB3 - Shooting The Truth / Week 3Dyllin Aleluia
Photography DB3
Dyllin Aleluia, Michael Bastin,
Matthew Brackett, Rhys Davis
When something is reproduced for so many times is that art? What's the importance of the mechanical reproducibility of the art? What was the impact on mechanical reproducibility on the society?
Is photography art, or contribution to the art? Is it just a tool used by artists?
How and why Henry Pitch Robinson created Feading Away? What was the reason?
Photography has impacted the world of art and influenced some changes in the area of accessibility to art. If mechanical reproduction created revolution, what is happening now with the digitalization?
While abstract expressionism dominated the mainstream art world in the 1950s, many American artists continued to work in a figurative style that had been marginalized, such as Edward Hopper, Norman Rockwell, Andrew Wyeth, Fairfield Porter, Milton Avery, and Larry Rivers, whose controversial paintings pushed boundaries through their subject matter and styles. On the west coast, the Bay Area Figurative School emerged, including David Parks and Richard Diebenkorn, while in Chicago, Leon Golub produced tortured figurative images dealing with psychological and political themes. These artists demonstrated that figurative art still had an important role to play despite the
Eva Hesse used abandoned factory materials like cloth-covered electrical wire, masonite, latex, fiberglass, and plastics in her work. The document discusses one of her exhibitions at the Fischbach Gallery in 1968 and her desire for her work to transcend preconceptions and categories. It also references her fascination with the properties of different materials like latex and fiberglass, as well as themes of body forms and gender. Several of her specific works from the 1960s are mentioned.
The document summarizes the Brazilian Neo-Concrete art movement which emerged in the 1950s, influenced by European geometric abstraction. Key artists discussed include Max Bill, Helio Oiticica, and Lygia Clark. Oiticica began creating interactive "Neo-Concrete" works and later his "Parangole" costumes. Clark also made geometric sculptures that invited interaction, transitioning in 1964 with her piece "Caminhando" involving a Möbius strip form.
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 document discusses key principles of the design process, including:
- Design is the planning and organization of visual elements to communicate an idea. The design process involves seeking visual solutions to problems.
- Sources of inspiration include nature, artifacts, history, and culture. Designers look to these sources as well as revising their own work through trial and error.
- Effective design balances the content, or message, with the form, or visual presentation. Design communicates through the arrangement of visual elements.
- Critique is an essential part of the process, allowing designers to improve their work through feedback and revision. Constructive criticism examines the work through description, analysis, and interpretation.
The document discusses the critical reception of Abstract Expressionism from its emergence in the late 1940s through the 1950s and beyond. Initially, most viewers did not consider it "art" but influential critics, collectors, and institutions like MoMA provided support. As the Cold War intensified, the avant-garde nature of Abstract Expressionism became linked to American values of freedom and individualism, and the US government promoted it abroad as a symbol of American ideals in contrast to Soviet restrictions on artists. However, the artists themselves claimed to be free from political ideology.
Abstract expressionism and the rise of formalism copyDeborahJ
Modernism refers to a 20th century movement in the arts that rejected realism and romanticism. Abstract Expressionism was an influential modernist movement in American painting in the 1940s-1950s. It emphasized non-representational forms and the physical act of painting. Critics like Clement Greenberg played a key role in promoting Abstract Expressionism by emphasizing its formal qualities and "purity" over other concerns. Greenberg argued that each artistic medium should focus on its unique properties to avoid becoming kitsch. This view helped establish Abstract Expressionism as the leading avant-garde movement in American art during the Cold War period.
Postmodernism emerged in the late 1960s as a reaction against modernism's rigidity and lack of context. It manifested in new art forms like conceptual art, minimalism, and performance art. Postmodernist architecture moved away from modernism's formal rules by incorporating symbolic references and classical elements. Major postmodern architects included Venturi, Moore, Piano, and Johnson, whose works emphasized eclecticism and challenged notions of universal truths. Postmodern practices in the visual arts involved appropriating and questioning existing works through the works of artists like Kruger, Sherman, and Levine.
Photographer Arnold Newman would employ backgrounds in his portraits to provide context about the subject. He disliked "cold studio portraits" and preferred to show subjects in their natural surroundings. The artist Ana Mendieta created ephemeral works by leaving imprints of her body in landscapes like snow, mud, and sand. Richard Long photographs tracks he makes walking or arrangements of natural materials. Michael Kenna's minimalist landscapes seem to depict dreamlike or half-remembered scenes that represent the human experience of encountering nature.
The document provides an overview of art history from 1960-1964, focusing on the development of Pop Art and other postmodern movements. It discusses how artists like Roy Lichtenstein, Claes Oldenburg, and Andy Warhol incorporated popular culture imagery and challenged notions of what constituted art. Key concepts examined include Clement Greenberg's theory of modernism, the blurring of boundaries between art and life in works by Allan Kaprow and Fluxus, and Warhol's commentary on mass media and the simulacrum through his repeated depictions of consumer goods and images of death.
Chapter 20 playing by the rules1960s abstractionPetrutaLipan
Clement Greenberg was the most influential art critic of the 20th century who shaped Abstract Expressionism through his support of artists like Jackson Pollock. He focused on formal elements of art and introduced concepts like "kitsch" and "flatness." Artists in the 1960s like Helen Frankenthaler, Morris Louis, and Kenneth Noland built on Greenberg's ideas and developed Color Field painting using techniques like Frankenthaler's soak-stain method. Minimalism emerged in the 1960s with artists like Donald Judd, Frank Stella, and Robert Morris rejecting metaphorical associations and symbolism in their work.
Post-Minimalism emerged in the late 1960s as a reaction against Minimalism. Artists rejected Minimalism's impersonal and geometric forms in favor of more open and process-oriented works that often reflected political and social concerns of the time period. Known as Process Art, Post-Minimalism emphasized the processes and materials used to create art, rather than predetermined compositions, and incorporated unconventional methods focused on change and transience.
Dianne Smith has been documenting her artistic process, which is unusual for her. She shares images of artworks she has created using found materials like spices, dirt, and discarded objects. Many of the pieces are works in progress that explore her relationship with the materials and memories they evoke. For example, a piece made from old belts made her reflect on how her body has changed over time. The process has helped her uncover things about herself as she continues to examine her work.
This document summarizes Dianne Smith's process of documenting and examining her artwork called "Remix Repurpose Studio". It describes how she is working in a way she doesn't usually by documenting her thoughts and materials which include rope, burlap, cloth and boxes. The process has helped her uncover things about herself. She discusses her use of belts, t-shirts, and fabrics from memories and objects that hold memory for her. The document examines her choices in artwork and waste.
The Primal One experimental theatre project has been creating original multimedia shows since 2010 that ask philosophical questions. Over 6 seasons they have staged 6 original creations with 19 events featuring 16 artist-actors from 15 nationalities. Their productions are minimalist, multi-media shows performed in unconventional spaces that challenge audiences' perceptions.
The proposed interactive video installation would show looped footage of a forest or landscape projected on a wall. A button would allow viewers to trigger virtual flames erupting across the projection, revealing a desaturated version of the landscape through the flames. This exaggerated effect is meant to make viewers consider their personal impact on the planet by contributing to its destruction yet doing nothing to stop it. Precautions like fire safety equipment and personnel would be required given the pyrotechnic element. The goal is to raise awareness of issues like deforestation and climate change at a nature preservation site like the Eden Project through an immersive experience.
The presentation provides details of a proposed video art installation called "Crying". It will be projected onto a radiator at York College. [The artists] have researched similar works, technical requirements, and target audiences. They have developed plans for production roles, schedules, and have considered risks. The piece aims to represent technology and worship in an abstract way through pulsating imagery. It will loop to allow continuous viewing.
The document contains 17 questions about a music video asking the respondent's opinions on various technical and artistic elements including overall impression, genre, production quality, performances, narrative, editing, visual effects, set design, strongest and weakest parts, and potential improvements.
This document contains a work sheet for analyzing 4 different video installation pieces. It includes sections for documenting the title, creator, date, diagram of set up, description of content, observations and analysis. The first piece is a documentary about blind people drawing what objects feel like. It elicits feelings of sadness and sympathy. The second is about young factory workers in China and feelings of wonder. The third shows oil dissolving sugar cubes to represent the mixing of concepts. Viewers initially found it confusing but understood with context. The last is a robot made of vintage radio equipment displaying flying robot clips, combining old and new technology.
Gary Hill creates complex video installations that allow viewers to interact with various video and projection technologies. In his work "In Between cinema and a hard place", Hill explores the relationship between cinematic and real space by using immaterial light and sound to investigate space across multiple video monitors of varying sizes connected through a computer system. One of Hill's early works, "Primary", breaks down spoken language by associating colors with shapes in the words "Blue, red, green".
Este documento resume los cálculos de aumento salarial de los empleados de un hotel en Loja, Ecuador. Se otorgó un aumento del 30% a todos los empleados. El empleado con el salario más alto originalmente era Luis Antonio Romero Burneo con $1,250.32 y el más bajo era Gloria Altamirano Rojas con $295.35. Luego de los aumentos, sus nuevos salarios son $1,625.42 y $383.96 respectivamente.
Gesamtkunstwerk refers to a total work of art that brings together all art forms. Richard Wagner coined the term in 1849 to describe his vision for opera. In the 1960s, artists began experimenting with new media and viewing environments that incorporated multiple projections and screens to expand visual horizons and intensify the viewing experience. Pioneering artists like Stan Vanderbeek, Ray and Charles Eames, Andy Warhol, and Bill Viola created immersive multimedia installations that blurred boundaries between viewer and artwork.
Bill Viola is an American video artist born in 1951. He graduated from Syracuse University with a Bachelor of Fine Arts in 1973. In the 1970s, he worked as a video technician and studied with composer David Tudor. He traveled extensively, including to Indonesia and Japan. Viola's video art focuses on themes of human consciousness, experience, birth, death, love, and emotion. His works often have a meditative, transcendental quality and make use of slow motion to immerse viewers. Viola has exhibited widely and is considered a major contemporary artist.
9th, PPP sculpture, installation, and concept art, bim2, 2011Artistic Education
This document lists artists from different countries and compares the key differences between sculpture and installation. Sculpture is a 3D object that is aesthetically carved or sculpted from positive and negative forms. Installation is interactive, transforms the perception of space, and often involves the spectator moving through it. The document also discusses concept art, noting that the main importance is the underlying concept or idea rather than traditional aesthetics. It traces the origins of installation art to Marcel Duchamp's ready-mades and lists different types of modern installation works.
1) The document discusses shutter speeds and panning techniques in photography. It explains that shutter speed controls the duration that light strikes the sensor or film, with faster shutter speeds freezing motion and slower shutter speeds blurring it.
2) Panning involves following a moving subject with the camera using a slower shutter speed than would otherwise be needed if the camera was static. This allows the subject to remain in focus while the background blurs.
3) The exercise recommends taking photos at different shutter speeds - fast speeds to freeze motion, slow speeds to blur motion, and panning shots between 1/15-1/125 sec to follow a moving subject.
Assignment brief video installation unit 35suevenables
This document outlines an assignment for a BTEC National Diploma video production course. Students are tasked with creating an original video installation for a specific location. They must research controversial past video installations, review two installations at the Tate Modern museum, and produce pre-production materials developing their idea. Students will then produce a 60+ second video and safely install it. The assignment addresses four learning outcomes: understanding video installations as art, developing an idea for a specific location, producing the required video, and correctly installing the finished work.
Video art is an art form that uses video technology in installations or standalone pieces. It emerged in the 1980s as experimental art that disregarded filmmaking conventions. Video art can vary in length from one minute to six hours and takes different forms like single channel videos or installations combining video with other art forms. Key figures who pioneered the genre include Wolf Vostell, Nam June Paik, Andy Warhol, and Peter Campus. Gillian Wearing is also noted for her video art which aims to unsettle viewers through emotionally probing themes.
Assignment brief l3 cmp unit 35 new formatsuevenables
This document outlines an assignment for a BTEC Level 3 Subsidiary Diploma in Creative Media Production. The assignment requires students to:
1) Research and write blog posts about controversial video installations and their visit to the Tate Modern gallery.
2) Produce pre-production documentation such as storyboards and treatments to develop an idea for their own video installation in a specific location.
3) Create a 1-5 minute original video installation for their chosen location.
4) Safely install their video and document it.
Students will be graded on their understanding, development, production, and installation of their video project based on criteria such as creativity, technical skills, and fulfillment of tasks.
Este documento fornece uma introdução básica ao software de edição de vídeo Adobe Premiere Pro. Explica que o tutorial ensinará como editar vídeos de forma profissional, conhecer as ferramentas do programa e seu funcionamento técnico. Também resume o que é o Premiere Pro, como criar um novo projeto e acessar a área de trabalho.
A CRT projector uses a small cathode ray tube to generate an image that is focused and enlarged onto a screen using a lens in front of the CRT. An LCD projector displays video or images on a screen using liquid crystal display technology. A DLP projector employs a digital micro mirror device to project images using digital light processing technology.
The document discusses the history and key characteristics of installation art. It began as a reaction against the modernist "white cube" gallery space which demanded formal purity and separation of art from everyday life. Installation art aims to be more immersive and interactive for viewers. It uses a variety of materials and invites narrative interpretations. Viewers experience multiple perspectives rather than focusing on individual art objects, making the experience more democratic. Major influences came from Dada, Surrealism, Happenings, Performance, Land Art and Minimalism.
1. Postmodernism emerged in the period following World War II and is characterized by a shift away from modernist paradigms.
2. Key aspects of postmodern art discussed include the rejection of notions of progress, originality, and the death of the artistic aura. Postmodern artists sought to transfer the aura through performance, installation, and conceptual works.
3. The document traces the development of modern art movements like cubism, abstract expressionism, and conceptualism and discusses how postmodern theorists have analyzed language, culture, and the mind.
The document discusses the changing nature of sculpture in the 1980s in response to societal trends toward increasing commercialization and consumerism. It focuses on two responses from British and American sculpture of the time. British sculptors like Tony Cragg and Bill Woodrow transformed found objects to critically engage with issues of production and consumption. Meanwhile, American sculptors like Jeff Koons and Haim Steinbach embraced consumerism and appropriated popular culture in ways that were seen as complicit with consumerist values rather than critical of them. Koons in particular provoked debate through his unapologetic celebration of popular culture and embrace of self-promotion.
Minimalism aims for simplicity and anonymity by focusing on basic geometric forms and industrial materials rather than the artist. Important minimalist artists include Donald Judd, Dan Flavin, and Frank Stella. Judd helped found the movement and used box structures throughout his career, believing art should not convey the artist's personal views. Flavin primarily used fluorescent lights to create pieces that allowed the lights and shadows to stand alone. Stella emphasized the flatness of the canvas in his paintings that transitioned into sculpture. Sol LeWitt regarded the process of creating conceptual works as more important than the finished product. Minimalism has influenced other art forms like literature and music that also aim to strip works down to their basic elements.
The Bogside Artists are three renowned muralists from Derry, Northern Ireland who have created a series of famous murals called The Peoples' Gallery. They have toured universities in Australia, the US, and elsewhere, giving lectures about their work commemorating 30 years of conflict in Northern Ireland. Their murals have become iconic symbols and are among the most photographed artworks in the world. During their campus visits, the artists offer students an engaging presentation and Q&A, followed by an opportunity to purchase their artwork and books. They sometimes paint a mural on site, allowing students to observe and participate.
This document provides an overview of art history from 1965-1970, focusing on key movements and artists. It summarizes:
1) Minimalism emerged as a rejection of Abstract Expressionism, emphasizing simplicity of form and impersonality. Artists like Donald Judd and Robert Morris created modular, industrial sculptures.
2) Conceptual art developed in the late 1960s, prioritizing ideas over aesthetics. Pioneers like Sol Lewitt created guidelines for works that could be realized by anyone.
3) Site-specific and land art works, like those by Robert Smithson and Gordon Matta-Clark, explored entropy and challenged boundaries between art and nature.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
This document provides an interview with Romanian artist Alex Mirutziu. Some key points:
- Mirutziu grew up in Sibiu, Romania and has exhibited widely internationally while continuing to live and work in Romania.
- His work often deals with themes of identity, marginalization, and resisting closure through concepts like "neverness".
- He founded a collective called "The Artist and Himself at 29" which questions how mass and reality are constructed.
- Mirutziu prefers a task-driven work process and sees his tasks as creating meaningful discourse over time.
- He has shown his work at important galleries and institutions while continuing to collaborate with the Sabot gallery in Romania.
The document discusses the history and development of performance art from the 1960s onwards. It explores how performance art moved the body out of the frame and into physical space, challenging passive spectatorship and notions of disembodied viewing. Many early performance artists used the body to confront issues like gender, sexuality, and political power through provocative and sometimes shocking acts.
The document discusses Marcel Duchamp, a French artist who worked in painting, sculpture, and film. It provides biographical details on Duchamp and discusses some of his important works, including Fountain, a urinal he submitted as a sculpture. It also explores Duchamp's concept of readymades, where everyday objects are selected and designated as art. Duchamp is seen as pioneering conceptual art and challenging traditional notions of art through works like Fountain and L.H.O.O.Q., a modified version of the Mona Lisa. The document provides context and quotes from Duchamp on his works and their significance.
Minimalism emerged in the 1960s as both an extension of and reaction against modernist art. It embraced industrial materials and serial production techniques, rejecting a focus on individual craft. Minimalist works displayed no signs of the artist's touch, instead prioritizing the viewer's experience of the physical object in space over visual expression. While some saw it as replicating an alienating capitalist aesthetic, minimalism shifted the role of the viewer in important ways. Conceptual art further developed these ideas by emphasizing ideas and language over finished objects, challenging notions of what constitutes a work of art. Both movements reflected broader social and political critiques of the postwar era.
Rodin was a famous sculptor in the early 20th century, but younger artists were questioning his style. They were influenced by Egyptian sculpture, primitive art from Africa and Oceania, and Cubism in painting. Some like Modigliani and Brancusi adapted primitive styles, while Picasso used Cubist principles in his constructions. Futurism celebrated movement and new materials. Dadaists like Duchamp created readymades. Constructivists like Tatlin and Gabo made non-representational works using new materials like metal and glass.
Post-modernism emerged in the 1940s and gained popularity in the 1950s-1960s as a departure from modernism. It is characterized by skepticism of absolute truths, cultural relativism, rejection of common values, and abandonment of foundationalism. Post-modern art rejects notions of a single definition or authority, and incorporates pop culture, mixed genres and styles, and new media. Post-modern performance introduces experimentalism, minimalism, fragmentation, and raises questions rather than providing answers.
Alice was bored sitting by her sister and not having anything to do. She peeked at her sister's book but found it uninteresting without pictures or conversations. The document then discusses various debates around conceptual art including whether art should engage socially or focus on its own rules and forms. It provides summaries of key features and artists of conceptual art as well as criticisms and reactions against it. The summary discusses the return of painting and focus on aesthetics in reaction to dominant conceptual trends.
Donald Judd helped found the minimalist movement in the 1960s. He primarily used box-shaped structures throughout his career and felt that art should exist independently of an artist's personal feelings. In his later years, Judd created large copper and brass structures with smooth features. He helped revolutionize modern sculpture by bringing basic shapes, space, and simple colors into focus. Dan Flavin was interested in fluorescent lights from an early career and felt that the lights and their shadows could stand alone as art forms. To Flavin, the lights created their own forms and he proceeded to make more works exploring how light affects spaces. Minimalism aims to be appreciated simply for what it is rather than an artist's intentions, pushing boundaries on what
A2Y2 Media Studies Language Theory Postmodernism & HyperrealityKBucket
Postmodernism rejects the notion of objective truth and universal theories, instead believing that there are only individual interpretations of the world. It challenges social constructs and norms by bending and breaking rules. Key characteristics of postmodern works include self-reflexiveness by acknowledging the constructed nature of the medium, intertextuality through references to other works, and genre blending or hybridization. Postmodernism emphasizes style over substance and questions notions of reality through constant simulation and depthlessness.
The document provides information about assessment objectives for a fine art course focusing on covert and obscured works. The four assessment objectives cover developing ideas through investigations informed by context, experimenting with materials and techniques, documenting ideas and insights, and presenting a meaningful personal response. The document also provides definitions of "covert" and "obscured" and suggests using the sheet to generate ideas and respond to artworks.
The document discusses the role of a curator and the relationship between curators and artists. It provides examples of curators who approach curation as an artistic practice and artists who take on curatorial roles. It also notes a trend of curators and architects wanting to be seen as artists, which some artists argue risks using artists as "ingredients" rather than collaborators. Overall, the document examines the blurred lines between the roles of curator and artist.
The document discusses the relationship between architecture, media, and perception from the early 20th century to today. It summarizes key ideas from thinkers like Walter Benjamin, Marshall McLuhan, Guy Debord, Jean Baudrillard, Beatriz Colomina, and others on how new media technologies have transformed human perception and the role of images in architecture. Examples of modernist architecture and media from the 1920s-1970s are provided alongside more recent discussions of digital media, the internet, and concepts like the post-internet society.
The document discusses the evolving concept of the artist from pre-modern to modern times. Prior to the Renaissance, artists were seen as anonymous craftsmen fulfilling commissions from patrons. In the Renaissance, artists had more independence but were still constrained by contracts. The modern concept of the unique, individual artist emerged in the 19th century with Romanticism. This saw the artist as a troubled genius existing outside of society. In the 20th century, postmodern and conceptual art challenged the notion of the singular artistic author/genius through ideas like collaboration, appropriation, and deconstruction.
Similar to Week 1 Sound and Vision - Video and Installation (20)
2. • Installation and video art, two
areas of artistic practice, whose
core ideas and core terms still
ghost contemporary discussions
of new media (specifically ideas
around interactivity, immersion,
active spectatorship etc. )
Wednesday, 19 September 2012
3. The Roots of Video and Installation art
The Threat of New Media
Wednesday, 19 September 2012
5. The singular viewer in solitary, quiet meditation
• “The ideal modernist spectator was a disembodied eye, lifted out of the flux of life in time and
history, apprehending the resolved (‘significant) aesthetic form in a moment of instantaneity” Paul Wood
Wednesday, 19 September 2012
6. Ideology of the Modernist White Cube
Wednesday, 19 September 2012
8. THE MODERNIST BREAKDOWN
• “If I could sum up the shift that
occurred in art and criticism in
1967, it would be the widespread
assault on the dogma of
Modernism as an exclusively
optical, art-for-art’s sake, socially
detached, formalist phenomenon
that inevitably tended toward
abstraction’
• Barbara Rose, The Critical Terrain of High
Modernism
8
Wednesday, 19 September 2012
10. Surrealism
Dada Pop
Pop
• Marcel Duchamp, Installation for the
exhibition of First Papers of
Surrealism, 1942
Happenings
Kaprow wasn’t installing
anything to be looked at..but
something to be played in,
participated in by visitors who
then became co-creators.
Wednesday, 19 September 2012
11. Main staircase and fresco painted by Tiepolo. Wurzburg, Bavaria, Germany
Wednesday, 19 September 2012
13. Minimalism ‘For the first time, I was
forced to recognise the
entire space, and the
people in it..Until
Minimalism, I had been
taught , or taught myself,
to look only within a
frame; with Minimalism
the frame broke, or at
least stretched’
Vito Acconci
Robert Morris Installation at the Green Gallery (1963)
Wednesday, 19 September 2012
17. Installation Art
• The viewers focus is shifted from
individual autonomous art objects
(on walls or plinths) to the context
within which artworks are exhibited.
• Installations employ a range of
materials. They are hybrid,
adaptable artworks, allowing artists
to use a variety of forms, many of
which traditionally would have been
seen as incompatible (sculpture
and painting and video etc.) .
• The form of the installation rejects
technical specialism (deskilling).
• Installations are temporary in
nature.
• Installations frequently invite and
encourage a narrative reading.
Wednesday, 19 September 2012
18. Feminism and Installation
Installation art’s multi-perspectivalism
was viewed as emancipatory and
in contrast to single-point perspective,
which in its centring of the viewer
in a position of mastery was for feminists
marked by patriarchal power relations.
• Judy Chicago Dinner Party 1974 San Francisco Museum of • “This discourse of decentring has
Modern Art had particularly influence on the
writing of art critics sympathetic
to feminist and postcolonial
One of the first openly female- theory, who argue that fantasies
centered art installations,
Womanhouse - a series of fantasy of ‘centring’ perpetuated by
environments exploring the various dominant ideology are
personal meanings and gender masculinist, racist and
construction of domestic space - was
created by students of the Feminist conservative; this is because
Art Program along with a number of there is no one ‘right’ way of
local Los Angeles, CA artists, first
conceived by Paula Harper and
looking at the world, nor any
spearheaded by Judy Chicago and privileged place from which such
Miriam Schapiro. judgements can be made.” (Bishop, C,
Installation Art, p 13)
Wednesday, 19 September 2012
21. The Active Spectator
• To see yourself seeing. To engender a critical,
self conscious, reflexsive attitude to the activity
of looking at art in a space.
• An active viewer - directly addressed. The
interdependence of the work of art and the
viewer :
• “the active nature of the viewer’s role within
[installations], and the importance of first hand
experience , came to be regarded as an
empowering alternative to the pacifying effects of
mass-media.” (Bishop Installation Art)
•
Wednesday, 19 September 2012
22. Active
Spectatorship
“This activation is, moreover,
regarded as emmancipatory, since
it is analogous to the viewers
engagement in the world. A
transitive relationship therefore
comes to be implied between
‘activated spectatorship’ and active
engagement in the social political
arena’
(Bishop, C, Installation Art, pg. 11)
22
Wednesday, 19 September 2012
23. It is common in installation
art to remark that the viewer
completes the work. Their
presence is essential to the
functioning of the work, -
they ‘activate’ the work
through their literal
presence in the space.
23
Wednesday, 19 September 2012
24. "The main actor in the
total installation, the main
centre toward which
everything is addressed,
for which everything is
intended, is the viewer."
Ilya Kabakov
On the Total Installation
Wednesday, 19 September 2012
26. History of video art
• Late sixties - early video
cameras appear on university
campuses - they are large and
bulky.
• Naim June Paik uses Sony
Portapak Camera
• Early history closely connected
to recording of performance -
camera is stationary
• Key first generation video artists
or artists using video -Dan
Graham, John Baldessari, Joan
Jonas, Martha Rosler,Bruce
Nauman, William Wegman, Vito
Acconci....
Wednesday, 19 September 2012
27. Video Art
• A time based medium.
• Experiencing the changing
patterns of form of video over
time is frequently a central
aspect of its character.
• In theory an infinitely
reproducible, non auratic
medium. The hope that
technological innovation would
lead to democratic
transformation in the
production and consumption of
art. Another instance of the
dematerialisation of the art Martha Rosler “Semiotics of the Kitchen”
object - and anti-form.
• The exhibition of video is fluid -
from large scale projections
filling a space, to single free
standing works on domestic
monitors. It is a migrant
medium.
Wednesday, 19 September 2012
28. • Video art frequently positions itself
in a ‘dialogue’ with mainstream
television or film.
• An interventionist practice - not
only did it have the potential to
reach far bigger audiences, it also
had the possibility of offering a
critique of the values and forms of
commercial, mainstream TV and
film- to turn TV /film against itself
• A deconstruction of the
mechanisms of manipulation,
seduction and the resulting ‘rituals
of passive consumption / one way
transmission’.
• A form capable of offering
alternative narratives in alternative
spaces http://www.ubu.com/film/acconci.html
• A new form. No artistic or critical
history.
Wednesday, 19 September 2012
29. “From it’s beginnings in the 1970’s counter
culture, artists’ video and film has
sidestepped the hypnotizing conditions of
narrative cinema precisely in order to critique
the dominant culture’s most thoroughly
passivizing entertainment genre.”
Brandon Taylor
Art Today
Wednesday, 19 September 2012
30. Martha Rosler
• http://www.youtube.com/watch?v=3zSA9Rm2PZA&feature=related
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31. Laurie Anderson
• http://www.youtube.com/watch?v=SirOxIeuNDE
• http://www.youtube.com/watch?v=0hhm0NHhCBg
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Wednesday, 19 September 2012
32. Bruce Nauman, Violent Incident, 1986, video, installation, Tate Gallery, London.
Wednesday, 19 September 2012
33. Bruce Nauman
“ANTHRO/SOCIO 1991.
Projection on three walls and six monitors -
the head screams “Feed Me, Help Me /
Anthropology..Help Me / Hurt Me /
Sociology…”
http://www.youtube.com/watch?v=cxmm16gqRis&feature=related
Wednesday, 19 September 2012
34. “ Whereas for McLuhan media such as books and cinema are not
truly interactive, for Manovich quite the reverse is true: they are
more interactive (higher in participation) than digital media forms
precisely because they demand us to create a mental
accompaniment. Manovich, [..] sees media such as painting, books
and cinema as succeeding by depriving our senses of high level or
complete information. They work because the demand us to fill in
the gaps in visual or audio narratives and to construct our own
readings, images or even dialogues through interaction with the
medium in question. “
pg. 91 new media
34
Wednesday, 19 September 2012