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Patel Spring 2017 GL ARH 4470 Syllabus
Do not copy without the express written consent of the instructor. Syllabus Spring 2017 ARH 4470/ARH 5482 Contemporary Art A Discipline-Specific Global Learning Course1 Tuesday and Thursday 2-3:15pm Green Library, Room 165 Instructor: Dr. Alpesh Kantilal Patel Assistant Professor, Contemporary Art and Theory Director, MFA in Visual Arts Affiliate Faculty, Center for Women’s and Gender Studies Affiliate Faculty, African and African diaspora Program Contact information for instructor: Department of Art + Art History MM Campus, VH 235 Preferred mode of contact: [email protected] Office hours: Thursday: 12:45-1:45pm Course description: This course examines major artists, artworks, and movements after World War II; as well as broader visual culture—everything from music videos and print advertisements to propaganda and photojournalism—especially as the difference between ‘art’ and non-art increasingly becomes blurred and the objectivity of aesthetics is called into question. Movements studied include Abstract Expressionism, Pop, and Minimalism in the 1950s and 1960s; Post-Minimalism/Process Art, and Land art in the late 1960s and 1970s; Pastiche/Appropriation and rise of interest in “identity” in the 1980s; and the emergence of Post-Identity, Relational Art, Internet/New Media art, and Post- Internet art in the 1990s/post-2000 period. This course will explore the expansion of the art world beyond “Euro- America.” In particular, we will consider the shift from an emphasis on the international to transnational. We will focus not only on artistic production in the US, but also that in Europe, South and East Asia, Africa, and the Middle East. -
Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model
Andrews University Digital Commons @ Andrews University Honors Theses Undergraduate Research 2014 Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model Kirk Maynard Follow this and additional works at: https://digitalcommons.andrews.edu/honors Part of the Art and Design Commons Recommended Citation Maynard, Kirk, "Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model" (2014). Honors Theses. 92. https://digitalcommons.andrews.edu/honors/92 This Honors Thesis is brought to you for free and open access by the Undergraduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. 2014 Kirk Maynard HONS 497 [TEACHING STRATEGIES: HOW TO EXPLAIN THE HISTORY AND THEMES OF ABSTRACT EXPRESSIONISM TO HIGH SCHOOL STUDENTS USING THE INTEGRATIVE MODEL] Abstract: The purpose of my thesis is to create a guideline for teachers to explain art history to students in an efficient way without many blueprints and precedence to guide them. I have chosen to focus my topic on Abstract Expressionism and the model that I will be using to present the concept of Abstract Expressionism will be the integrated model instructional strategy. -
Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson a Dissertation Submitted in Partial Fulfillment Of
Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Jessica Burstein, Chair Carolyn Allen Gillian Harkins Program Authorized to Offer Degree: English ©Copyright 2014 Heather Arvidson University of Washington Abstract Impersonality and the Cultural Work of Modernist Aesthetics Heather Arvidson Chair of the Supervisory Committee: Associate Professor Jessica Burstein English Department This dissertation reanimates the multiple cultural and aesthetic debates that converged on the word impersonality in the first decades of the twentieth century, arguing that the term far exceeds the domain of high modernist aesthetics to which literary studies has consigned it. Although British and American writers of the 1920s and 1930s produced a substantial body of commentary on the unprecedented consolidation of impersonal structures of authority, social organization, and technological mediation of the period, the legacy of impersonality as an emergent cultural concept has been confined to the aesthetic innovations of a narrow set of writers. “Impersonality and the Cultural Work of Modernist Aesthetics” offers a corrective to this narrative, beginning with the claim that as human individuality seemed to become increasingly abstracted from urban life, the words impersonal and impersonality acquired significant discursive force, appearing in a range of publication types with marked regularity and emphasis but disputed valence and multiple meanings. In this context impersonality came to denote modernism’s characteristically dispassionate tone and fragmented or abstract forms, yet it also participated in a broader field of contemporaneous debate about the status of personhood, individualism, personality, and personal life. -
THE AMERICAN ART-1 Corregido
THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
The Identity Politics of Multicultural Nationalism: a Comparison Between the Regular Public Addresses of the Belgian and the Spanish Monarchs (1990–2000)
European Journal of Political Research 42: 601–627, 2003 601 The identity politics of multicultural nationalism: A comparison between the regular public addresses of the Belgian and the Spanish monarchs (1990–2000) BART MADDENS1 & KRISTINE VANDEN BERGHE2 1Katholieke Universiteit Leuven, Belgium; 2Facultés Universitaires Notre-Dame de la Paix, Namur, Belgium Abstract. A nation-state confronted by sub-national claims may opt for a corporatist or managerial approach, where the centre accommodates ethnic and regional claims and at the same time develops an identity politics of multicultural or multination nationalism. In this way, it is attempted to re-legitimise the nation as a community that allows different cultural and ethnic groups to live together in harmony. On the basis of a comparative analysis of the regular public addresses of the monarchs in the period 1990–2000, this article investigates to what extent Belgium and Spain have adopted such a strategy of multicultural nation- alism. It is shown that multiculturalism is the core value of the Belgian nationalist discourse, in the sense that the Belgian nation is constantly defined in terms of its constituent cultural segments. The Spanish nationalist discourse is predominantly unitary and hardly reflects the compound nature of the state. Democracy is the core value of this discourse. It is argued that the more unitary representation of the Spanish nation is due to the lack of elitist con- sensus about the compound nature of the state and the dominant position of Hispanic culture. Introduction While the decline of the nation-state and the rise of regional and sub-national identities have generated a lot of research and theory, comparatively little attention has been paid to the strategies which the nation-state uses to fend off this threat from below and to reconstruct the centre. -
The Third in a Three Part Series on Art Not Only How to Explain Modern Art (But How to Have Your Students Create Their Own Abstract Project)
The Third in a Three Part Series on Art Not Only How to Explain Modern Art (But How to Have Your Students Create Their Own Abstract Project) Michael Hoctor Keywords: Paul Gauguin Mark Rothko Pablo Picasso Jackson Pollock Synchromy Peggy Guggenheim Armory Show Collage Abstract expressionism Color Field Painting Action Painting MODERN ABSTRACT ART Part Three This article will conclude with a class lesson to help students appreciate and better understand art without narrative. The class will produce a 20th-Century Abstract Art Project, with an optional step into 21st Century Digital Art. REALISM ABSTRACTION DIVIDE This article skips a small rock across a large body of well-documented art history, including 650,000 books covering fine art that are currently available, as well as approximately 55,000 on critical insights, and almost 15,000 books examining the methods of individual artists and how they approached their work. You, of course can read a lot of them in your spare time! But today, our goal is to is gain a better understanding of why, at the very beginning of the 20th century, there was a major departure in how some groups of "avant-garde" painters approached their canvas, abandoning realistic art. The rock's trajectory attempts to show how the camera's extraordinary technology provoked some phenomenal artists to re- examine how they painted, inventing new methods of applying colors in a far less photographic manner that was far more subjective, departing from: what we see to focus on what way we see. 2 These innovators produced art that in time became incredibly valued. -
DSD Population (Differences of Sex Development) in Barcelona BC N Area of Citizen Rights, Participation and Transparency
An analysis of the different realities, positions and requirements of the intersex / DSD population (differences of sex development) in Barcelona BC N Area of Citizen Rights, Participation and Transparency An analysis of the different realities, positions and requirements of the intersex / DSD population (differences of sex development) in Barcelona Barcelona, November 2016 This publication forms part of the deployment of the Municipal Plan for Sexual and Gender Diversity and LGTBI Equality Measures 2016 - 2020 Author of the study: Núria Gregori Flor, PhD in Social and Cultural Anthropology Proofreading and Translation: Tau Traduccions SL Graphic design: Kike Vergés We would like to thank all of the respond- ents who were interviewed and shared their knowledge and experiences with us, offering a deeper and more intricate look at the discourses and experiences of the intersex / Differences of Sex Develop- ment community. CONTENTS CHAPTER I 66 An introduction to this preliminary study .............................................................................................................. 7 The occurrence of intersex and different ways to approach it. Imposed and enforced categories .....................................................................................14 Existing definitions and classifications ....................................................................................................................... 14 Who does this study address? .................................................................................................................................................. -
The Corrosive Impact of Transgender Ideology
The Corrosive Impact of Transgender Ideology Joanna Williams The Corrosive Impact of Transgender Ideology The Corrosive Impact of Transgender Ideology Joanna Williams First published June 2020 © Civitas 2020 55 Tufton Street London SW1P 3QL email: [email protected] All rights reserved ISBN 978-1-912581-08-5 Independence: Civitas: Institute for the Study of Civil Society is a registered educational charity (No. 1085494) and a company limited by guarantee (No. 04023541). Civitas is financed from a variety of private sources to avoid over-reliance on any single or small group of donors. All the Institute’s publications seek to further its objective of promoting the advancement of learning. The views expressed are those of the authors, not of the Institute. Typeset by Typetechnique Printed in Great Britain by 4edge Limited, Essex iv Contents Author vi Summary vii Introduction 1 1. Changing attitudes towards sex and gender 3 2. The impact of transgender ideology 17 3. Ideological capture 64 Conclusions 86 Recommendations 88 Bibliography 89 Notes 97 v Author Joanna Williams is director of the Freedom, Democracy and Victimhood Project at Civitas. Previously she taught at the University of Kent where she was Director of the Centre for the Study of Higher Education. Joanna is the author of Women vs Feminism (2017), Academic Freedom in an Age of Conformity (2016) and Consuming Higher Education, Why Learning Can’t Be Bought (2012). She co-edited Why Academic Freedom Matters (2017) and has written numerous academic journal articles and book chapters exploring the marketization of higher education, the student as consumer and education as a public good. -
Lesson Helen Frankenthaler/Color Field Paintings 6 Kimball Art Center & Park City Ed
LESSON 6 Helen Frankenthaler Color Field Paintings Verbal Directions LESSON HELEN FRANKENTHALER/COLOR FIELD PAINTINGS 6 KIMBALL ART CENTER & PARK CITY ED. FOUNDATION LESSON OVERVIEW SUPPLIES • Images of Frankenthaller’s Helen Frankenthaler (1928-2011) was an experimental abstract artwork. expressionist painter, who described her paintings as being • Samples of Color Field improvisations based on real or imaginary ideas of nature. Students Paintings. will work with watercolors and movement to create color fields while • Butcher paper/Tarps/Trays. enriching their understanding of the properties of color in painting. • Scrap paper for Experiments. • White Wax Crayons. INSTRUCTIONAL OBJECTIVES • Watercolor Paper. • Paper Towel/Sponges . • Learn about Helen Frankenthaler. • Liquid watercolors. • Learn about abstraction and the properties of color. • Cups or Palettes • Learn about action painting and the painting process. • Pipettes or Straws. • Create a painting inspired by Helen Frankenthaller’s abstract paintings. HELEN FRANKENTHALLER Helen Frankenthaler (1928-2011) has long been recognized as one of the great American artists of the twentieth century. She was well known among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. LESSON HELEN FRANKENTHALER/COLOR FIELD PAINTINGS 6 KIMBALL ART CENTER & PARK CITY ED. FOUNDATION LESSON PLAN 1. Introduce students to the work and life of Helen Frankenthaler. -
LGBTIQ+ Inclusive Practice Guide for Homelessness and Housing Sectors in Australia
LGBTIQ+ Inclusive Practice Guide for Homelessness and Housing Sectors in Australia Funded by the National LGBTI Health Alliance and Pride Foundation Australia Contents Forward ...................................................................................4 Acknowledgements ................................................................5 Executive Summary ...............................................................6 Summary for Practitioners ....................................................7 Summary for Service Managers ............................................8 1. Content for Service Workers ...........................................10 1.1 Disclosure and Confidentiality ...................................12 1.2 Respectful Communication .......................................16 1.3 Cultural Safety ............................................................18 1.4 Discrimination and Harassment ...............................22 1.5 Specific Support, Referral, and Advocacy .................24 2. Content for Service Managers ........................................28 2.1 Organisational Policies ..............................................30 2.2 Procedures and Facilities ..........................................34 2.3 Consumer Participation .............................................38 2.4 Staff Training ..............................................................40 2.5 Data Capture and Storage .........................................42 Authored by: Dr Cal Andrews and Dr Ruth McNair AM. Conclusion ............................................................................46 -
Intermediate Painting: Impression, Surrealism, & Abstract
California State University, San Bernardino CSUSB ScholarWorks Course Outlines Curriculum Archive 5-2017 Intermediate Painting: Impression, Surrealism, & Abstract Jessica Agustin Follow this and additional works at: https://scholarworks.lib.csusb.edu/art-course-outlines Recommended Citation Agustin, Jessica, "Intermediate Painting: Impression, Surrealism, & Abstract" (2017). Course Outlines. 7. https://scholarworks.lib.csusb.edu/art-course-outlines/7 This Article is brought to you for free and open access by the Curriculum Archive at CSUSB ScholarWorks. It has been accepted for inclusion in Course Outlines by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. CLASS TITLE: Intermediate Painting DATE: 01/19/2017 SITE: CIM- C Yard TEACHING ARTIST: Jessica Revision to Current Class OVERVIEW OF CLASS In this course, participants will investigate different forms of painting through discussion and art historical examples. Participants will practice previously learned technical skills to explore more conceptual themes in their paintings. At the same time, participants will also learn to experiment with various formal/technical aspects of painting. Intermediate Painting will constitute of a lot of brainstorming, sketching (if needed) and Studio Time and reflection/discussion. ESSENTIAL QUESTION OR THEME What are some of art movements that have influenced art making/painting and how can we apply them to our work? STUDENT LEARNING OUTCOMES These should include at least 3 of the 4 areas: • Technical/ skill o Participants will use their technical skills to build their conceptual skills. • Creativity/ imagination o Participants will learn to take inspiration from their surroundings. o Participants will learn about different types of art styles/movement that will get them out of their comfort zone and try new techniques.