DOCSLIB.ORG

Mid to Late 20Th Century Art Overview

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mid to Late 20Th Century Art Overview mid to late 20th Century Art Overview Week 5 SM1701. Contemporary and New Media Art Professor: David (Jhave) Johnston david.jhave.johnston --at-- cityu.edu.hk WEBSITE: http://sweb.cityu.edu.hk/sm1701/2012_FALL/Jhave/ EXERCISE: During today’s lecture, on the sheet of paper I am handing out, write down 20 artists, put them in or close to the category in which you think they belong. Conceptual Figurative in-between categories Abstract Intuitive news These $10 Robots Will Change Robotics Education “Suckerbot, designed by Thomas Tilley, a computer scientist living in Thailand, started with a hacked PlayStation controller, and wound up winning first prize in the tethered robot category. In this case, the tether is the controller's USB cable, and Tilley attached the rumble motors to a pair of wheels. Suckerbot's list of parts comes to $8.96, but the real genius is the Chupa Chups. Tilley needed a way for the robot to sense if it ran into something, so he stuck a lollipop in each joystick. Whenever the Suckerbot bumps something, the weight of the sucker tips the joystick forward, and a signal is sent to the processor.” http://www.wired.com/design/2012/09/afron-winners Chinese Government to Shut Down Ai Weiwei's Firm: Chinese authorities plan to shut down Ai Weiwei's production company, Beijing Fake Cultural Development, because it did not follow annual registration requirements. The company last week lost its final appeal against a $2.4 million tax evasion fine, which the artist announced he has no plans to pay. Ai's lawyer, who announced the news in a blog post, said it is not clear when the closure will go into effect or how the news would affect the tax evasion fine http://www.artinfo.com/news/story/830070/china-shuts-down-ai-weiweis-firm-moca-unveils-youtube-channel ADMIN (review) new rules for blogs 1. Everybody on tumblr.com 2. Every student must make a blog specifically for this class SM1701 and this class alone. (only posts for SM1701 go on this blog; if you already have a tumblr account then simply create another blog titled Name SM1701) 3. Profile photo and description must be filled out: profile must include: your name & the name of this course SM1701 must be mentioned. 4. All blogs must have a title (there are many currently called Untitled.) 5. A total of 10 blog posts minimum are expected. 6. The date function must be turned on: so that each post displays the date it was created. & now a brief message about ‘empty’ art for those with ‘empty’ blogs….. Yves Klein Zone de Sensibilité Picturale Immatérielle [Zone of immaterial pictorial sensibility] (1959) is an artist's book and performance by the French artist Yves Klein. The work involved the sale of documentation of ownership of empty space (the Immaterial Zone), taking the form of a cheque, in exchange for gold Between 1947 and 1948,[2] Klein conceived his Monotone Symphony (1949, formally The Monotone-Silence Symphony) that consisted of a single 20-minute sustained chord followed by a 20-minute silence[3][4] – a precedent to both La Monte Young's drone music and John Cage's 4′33″ http://en.wikipedia.org/wiki/Yves_Klein monochrome paintings "authenticity of the pure idea." Yves Klein IKB 191 (1962) Yann Marussich Bleu Remix (2008) Award of Distinction Prix Ars Electronica 2008: Hybrid Art In his performance entitled Bleu Remix, blue fluid flows out of Yann Marussichs mouth, nose and the pores of his skin, whereby the artist regulates the quantity of fluid that emerges via his circulatory system. In Bleu Remix the artists invites visitors to experience a new and intimate voyage through his body. http://youtu.be/K3qRJQPe1OM http://www.aec.at/news/ “(April 1958), Klein chose to show nothing whatsoever, called La spécialisation de la sensibilité à l’état matière première en sensibilité picturale stabilisée, Le Vide (The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void): he removed everything in the gallery space except a large cabinet, painted every surface white, and then staged an elaborate entrance procedure for the opening night; The gallery's window was painted blue, and a blue curtain was hung in the entrance lobby, accompanied by republican guards and blue cocktails. Thanks to an enormous publicity drive, 3000 people were forced to queue up, waiting to be let in to an empty room.” http://en.wikipedia.org/wiki/Yves_Klein Yves Klein Le Saut dans le Vide [Leap into the Void] (1962) Bas Jan Ader I am too sad to tell you (1970) http://www.basjanader.com/ Bas Jan Ader Fall II (1970) 16mm. 9 seconds. http://www.basjanader.com/ Office Hours Dr David (Jhave) Johnston Wed. 5-6pm Office: CMC 7089 In Synergy Lab on 7th Floor Call 3442 5726 (I will let you into area) USE THE CLOUD.: Lost or late Assignments will not be accepted without prior approval Moholy-Nagy (1920) "The illiterate of the future is the man without a camera." REVIEW What is time-based media? Étienne-Jules Marey Motion studies (1880s) “His revolutionary idea was to record several phases of movement on one photographic surface.” Marcel Duchamp Nude Descending a Stairs (1912) His revolutionary idea was to paint a nude as a set of robots, then quit painting and put a toilet in the gallery. Karl Sims Evolved Virtual Creatures, Evolution Simulation (1994) His revolutionary idea was to grow art using code. http://www.youtube.com/watch?v=JBgG_VSP7f8 REVIEW TECH TRAJECTORY Athanasius Kirchner – magica lanterna – 1600s Eadweard Muybridge Motion Studies (1879) 4 x 5 film camera early 1900s Sketchpad Ivan Sutherland (1963) Reactable Multi-touch sound synthesizer http://www.reactable.com/ (2005 - ) Beyond (& before) Fluxus Alternate Title SM1701. Contemporary and New Media Art Professor: David (Jhave) Johnston david.jhave.johnston --at-- cityu.edu.hk WEBSITE: http://sweb.cityu.edu.hk/sm1701/2012_FALL/Jhave/ FIGURATIVE ECCENTRIC Joseph Cornell Defence D’Afficher Object (1939) -- collage in box FIGURATIVE ECCENTRIC Joseph Cornell Object (Roses des Vents) (1942-53) http://www.ibiblio.org/wm/paint/auth/cornell/ FIGURATIVE IDEOLOGUE Sergei Eisenstein Battleship Potemkin (1925) -- still from film FIGURATIVE TRAUMA Francis Bacon Head VI (1949) FIGURATIVE TRAUMA Francis Bacon Self-Portrait (1971) FIGURATIVE TRAUMA Francis Bacon Second Version of Triptych 1944 (1988) ABSTRACTION Jackson Pollock Number 1 (1950) ABSTRACTION Barnett Newman Adam (1951) ABSTRACTION Mark Rothko Orange and Yellow (1956) ART AS LIFE Allan Kaprow “claimed that Pollock was less important for his paintings as material objects than for the kind of choreographic approach to painting that the artist instigated.” http://www.brooklynrail.org/2006/05/art/allan-kaprow-19272006 ART AS LIFE “This led Kaprow to explore a concept, close to Dada, in which intermedia performances involving groups of participants—which came to be known as “Happenings”—became a new art form.” http://www.brooklynrail.org/2006/05/art/allan-kaprow-19272006 ART AS LIFE “By 1959 Kaprow was exploring a direction in art where idea and process were considered more important than the object.” http://www.brooklynrail.org/2006/05/art/allan-kaprow-19272006 ART AS LIFE Allan Kaprow (1958): “I am convinced that painting is a bore. So is music and literature. What doesn’t bore me is the total destruction of ideas that have any discipline. Instead of painting, move your arms; instead of music, make noise. I’m giving up painting and all the arts by doing everything and anything.” http://www.brooklynrail.org/2006/05/art/allan-kaprow-19272006 “There was no structured beginning, middle, or end, and there was no distinction or hierarchy between artist and viewer. It was the viewer’s reaction that decided the art piece, making each Happening a unique experience that cannot be replicated.” Allan Kaprow. “Happenings” (1960s) http://nazarenaluzzi.wordpress.com/2011/10/21/allan-kaprow/ Fluxus —a name taken from a Latin word meaning “to flow”—is an international network of artists, composers and designers noted for blending different artistic media and disciplines in the 1960s. http://en.wikipedia.org/wiki/Fluxus Fluxus George Maciunas (1963) Nam June Paik Exposition of Music-Electronic Television (1963) Nam June Paik Magnet TV (1965) Nam June Paik «Zen for Film» (1964) “In an endless loop, unexposed film runs through the projector. The resulting projected image shows a surface illuminated by a bright light, occasionally altered by the appearance of scratches and dust particles in the surface of the damaged film material. As an analogy to John Cage, who included silence as a non-sound in his music, Paik uses the emptiness of the image for his art. This a film which depicts only itself and its own material qualities, and which, as an «anti-film,» is meant to encourage viewers to oppose the flood of images from outside with one’s own interior images.” Heike Helfert on http://www.medienkunstnetz.de/works/zen-for-film/ Alison Knowles and James Tenney A House of Dust, a poetry project (1967) an early example of a computer generated poem, creating stanzas by working through iterations of lines with changing words from a finite vocabulary list. Situationalists The Society of the Spectacle is the "historical moment at which the commodity completes its colonization of social life.” Guy Debord (1967) In psychogeography, a dérive is an unplanned journey through a landscape, usually urban, on which the subtle aesthetic contours of the surrounding architecture andgeography subco nsciously direct the travellers, with the ultimate goal of encountering an entirely new and authentic experience. Situationist theorist Guy Debord defines the dérive as "a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances." Homework: go home by a different route.
Load more

Recommended publications
  • Performing Power
    Rebecca Belmore: Performing Power Jolene Rickard The aurora borealis or northern lights, ignited by the intersection of elements at precisely the right second, burst into a fire of light on black Anishinabe nights. For some, the northern lights are simply reflections caused by hemispheric dust, but for others they are power. Rebecca Belmore knows about this power; her mother, Rose, told her so.1 Though the imbrication of Anishinabe thinking was crucial in her formative years in northern Ontario, Belmore now has a much wider base of observation from Vancouver, British Columbia. Her role as 2 transgressor and initiator—moving fluidly in the hegemony of the west reformulated as "empire " —reveals how conditions of dispossession are normalized in the age of globalization. Every country has a national narrative, and Canada is better than most at attempting to integrate multiple stories into the larger framework, but the process is still a colonial project. The Americas need to be read as a colonial space with aboriginal or First Nations people as seeking decolonization. The art world has embraced the notion of transnational citizens, moving from one country to the next by continuously locating their own subjectivities in homelands like China, Africa and elsewhere. As a First Nations or aboriginal person, Belmore's homeland is now the modern nation of Canada; yet, there is reluctance by the art world to recognize this condition as a continuous form of cultural and political exile. The inclusion of the First Nations political base is not meant to marginalize Belmore's work, but add depth to it.
    [Show full text]
  • Discovering the Contemporary
    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
    [Show full text]
  • Brian Jungen Friendship Centre
    BRIAN JUNGEN FRIENDSHIP CENTRE Job Desc.: AGO Access Docket: AGO0229 Client: AGO A MESSAGE FROM Supplier: Type Page: STEPHAN JOST, Trim: 8.375" x 10.5" Bleed: MICHAEL AND SONJA Live: Pub.: Membership Mag ad KOERNER DIRECTOR, Colour: CMYK Date: April 2019 AND CEO Insert Date: Ad #: AGO0229_FP_4C_STAIRCASE DKT./PROJ: AGO0229 ARTWORK APPROVAL Artist: Studio Mgr: Production: LESS EQUALS MOREProofreader: Creative Dir.: Art Director: Copywriter: The AGO is having a moment. There’s a real energy when I walkTranslator: through the galleries, thanks to the thousands of visitors who have experienced the AGOAcct. for Service: the first time – or their hundredth. It is an energy that reflects our vibrant and diverseClient: city, and one that embraces the undeniable power of art to change the world. And weProof: want 1 more2 3 4people 5 6 to7 Final experience it and make the AGO a habit. PDFx1a Laser Proof Our membership is generous and strong. Because of your support, on May 25 we’re launching a new admission model to remove barriers and encourage deeper relationships with the AGO. The two main components are: • Everyone 25 and under can visit for free • Anyone can purchase a pass for $35 and visit as many times as they’d like for a full year Without your vital support as an AGO Member, this new initiative wouldn’t be possible. Thanks to you, a teenager might choose us to impress their date or a tired dad might take his children for a quick 30-minute visit, knowing he can come back again and again. You will continue to enjoy the special benefits of membership, including Members’ Previews that give you first access to our amazing exhibitions.
    [Show full text]
  • Press Release
    Contact: Mark Linga 617.452.3586 [email protected] N E W S R E L E A S E The Media Test Wall Presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection featuring works by Bruce Nauman, Dara Birnbaum, Bill Viola, Nam June Paik and Gary Hill Viewing Hours: Daily 24 Hours Cambridge, MA – September 2008. The MIT List Visual Arts Center’s Media Test Wall presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection. This five-part exhibition series features selections from the List Center’s exhibition Video Trajectories (October 12-December 30, 2007) which was originally organized by MIT Professor Caroline A. Jones. The five selections in Video Trajectories (Redux), considered masterworks from video art history were acquired to become part of the MIT List Center’s New Media Collection. This exhibition re-introduces these works to a broader public: September 12-October 10 Bruce Nauman Slow Angle Walk (Beckett Walk), 1968 Video, black-and-white, sound, 60 minutes © 2008 Bruce Nauman/Artists Rights Society (ARS), New York, NY For Bruce Nauman, the video camera is an indispensable studio tool and witness. Barely edited, a characteristic Nauman tape from the late '60s shows the artist laconically following some absurd set of directions for an extended amount of time within the vague purview of a video camera mounted at a seemingly random angle in relation to the action. Slow Angle Walk is a classic of the genre, reflecting the artist's interest in Irish playwright Samuel Beckett, whose characters announce, "Let's go!" while the stage directions read, "No one moves." October 13-November 14 Dara Birnbaum Technology/Transformation: Wonder Woman, 1978-79 Video, color, sound, 5 minutes 50 seconds Courtesy of Electronic Arts Intermix Trained in architecture and painting, Birnbaum early on understood the estranging power of repetition.
    [Show full text]
  • About Humanity, Not Ethnicity? Transculturalism, Materiality, and the Politics of Performing Aboriginally on the Northwest Coast
    ABOUT HUMANITY, NOT ETHNICITY? TRANSCULTURALISM, MATERIALITY, AND THE POLITICS OF PERFORMING ABORIGINALLY ON THE NORTHWEST COAST by ALICE MARIE CAMPBELL B.A. (hons), The University of British Columbia, 2001 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Anthropology and Sociology) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 2004 ©Alice Marie Campbell, 2004 THE UNIVERSITY OF BRITISH COLUMBIA FACULTY OF GRADUATE STUDIES Library Authorization In presenting this thesis in partial fulfillment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Alice Marie Campbell 23/08/04 Name of Author (please print) Date (dd/mm/yyyy) Title of Thesis: About Humanity, Not Ethnicity?: Transculturalism, Materiality, and the Politics of Performing Aboriginality on the Northwest Coast Degree: Master of Arts Year: 2004 Department of Anthropology and Sociology The University of British Columbia Vancouver, BC Canada grad.ubc.ca/forms/?formlD=THS page 1 of 1 last updated: 23-Aug-04 Abstract In this multi-sited thesis based on ethnographic fieldwork conducted from 2002-2004, I examine how the transcultural production of Northwest Coast material culture subverts the hegemonic, discursive, and traditionalist constructions of 'Aboriginality' that have isolated Northwest Coast artists from the contemporary art world (Duffek 2004).
    [Show full text]
  • Object/Poems: Alison Knowles's Feminist Archite(X)
    JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] Nicole L. Woods Some visits later I arrived at his door with eleven color swatches…[Duchamp] chose one and set it aside on the buffet. After lunch, his wife Teeny picked up Object/Poems: the swatch and said, “Oh Marcel, when did you do this?” He smiled, took a pen- Alison Knowles’s cil and signed the swatch. The following year Marcel died. Arturo Schwarz wrote Feminist me suggesting I had the last readymade. Teeny and Richard Hamilton assured me Archite(x)ture that I did not, but that I had a piece of interesting memorabilia.4 You see you have to get right into it, as This brief experience with one of the most you do with any good book, and you must prolific and influential artists of the twen- become involved and experience it your- tieth century was but one of many chance self. Then you will know something and encounters that would characterize Knowles’s feel something. Let us say that it provides artistic practice for more than four decades. a milieu for your experience but what you The experience of seeing the readymade pro- bring to it is the biggest ingredient, far cess up close served to reaffirm her sense of more important than what is there. the exquisite possibilities of unintentional —Alison Knowles 1 choices, artistic and otherwise. Indeed, Knowles’s chance-derived practice throughout the 1960s and 1970s consistently sought to The world of objects is a kind of book, in frame a collection of sensorial data in vari- which each thing speaks metaphorically ous manifestations: from language-based of all others…and is read with the whole notational scores and performances to objet body, in and through the movements and trouvé experiments within her lived spaces, displacements which define the space of computer-generated poems, and large-scale objects as much as they are defined by it.
    [Show full text]
  • The Social and Environmental Turn in Late 20Th Century Art
    THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
    [Show full text]
  • From Surrealism to Now
    WHAT WE CALL LOVE FROM SURREALISM TO NOW IMMA, Dublin catalogue under the direction of Christine Macel and Rachael Thomas [Cover] Wolfgang Tillmans, Central Nervous System, 2013, inkjet print on paper mounted on aluminium in artist’s frame, frame: 97 × 82 cm, edition of 3 + 1 AP Andy Warhol, Kiss, 1964, 16mm print, black and white, silent, approx. 54 min at 16 frames per second © 2015 THE ANDY WARHOL MUSEUM, PITTSBURG, PA, COURTESY MAUREEN PALEY, LONDON. © WOLFGANG TILLMANS A MUSEUM OF CARNEGIE INSTITUTE. ALL RIGHTS RESERVED. FILM STILL COURTESY OF THE ANDY WARHOL MUSEUM. PHOTO © CENTRE POMPIDOU, MNAM-CCI, DIST. RMN-GRAND PALAIS / GEORGES MEGUERDITCHIAN CONTENTS E 1 FOREWORD Sarah Glennie 6 WHAT WE CALL LOVE Christine Macel 13 SURREALISM AND L’AMOUR FOU FROM ANDRÉ BRETON TO HENRIK OLESEN / FROM THE 1920s TO NOW 18 ANDRÉ BRETON AND MAD LOVE George Sebbag 39 CONCEPTUAL ART / PERFORMANCE ART FROM YOKO ONO TO ELMGREEN AND DRAGSET / FROM THE 1960s TO NOW 63 NEW COUPLES FROM LOUISE BOURGEOIS TO JIM HODGES / FROM THE 1980s TO NOW 64 AGAINST DESIRE: A MANIFESTO FOR CHARLES BOVARY? Eva Illouz 84 THE NEUROBIOLOGY OF LOVE Semir Zeki 96 LOVE ACTION Rachael Thomas WHAT 100 LIST OF WORKS 104 BIBLIOGRAPHY WE CALL LOVE CHAPTER TITLE F FOREWORD SARAH GLENNIE, DIRECTOR The Irish Museum of Modern Art (IMMA) is pleased to present this publication, which accompanies the large scale group exhibition, What We Call Love: From Surrealism to Now. This exhibition was initially proposed by Christine Macel (Chief Curator, Centre Pompidou), who has thoughtfully curated the exhibition alongside IMMA’s Rachael Thomas (Senior Curator: Head of Exhibitions).
    [Show full text]
  • O Último Ato Reflexões Sobre Performance, Morte, Violência E Transcendência
    Bárbara de Oliveira Ahouagi O último ato Reflexões sobre performance, morte, violência e transcendência Belo Horizonte 2015 Bárbara de Oliveira Ahouagi O último ato Reflexões sobre performance, morte, violência e transcendência Dissertação apresentada ao Programa de Pós- Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais como requesito à obtenção do título de Mestre em Artes. Área de Concentração: Arte e Tecnologia da Imagem Orientadora: Profa. Dra. Maria Angelica Melendi Belo Horizonte 2015 Ahouagi, Bárbara, 1980- O último ato [manuscrito] : reflexões sobre performance, morte, violência e transcendência / Bárbara de Oliveira Ahouagi. – 2015. 151 f. : il. + 3 folhas, em bolso. Orientadora: Maria Angelica Melendi Dissertação (mestrado) – Universidade Federal de Minas Gerais, Escola de Belas Artes, 2014. 1. Warburg, Aby, 1866-1929 – Atlas Mnemosyne – Teses . 2. Percepção visual – Teses. 3. Performance (Arte) – Teses. 4. Arte – Filosofia – Teses. 5. Arte moderna – 1960-1970 – Teses. I. Biasizzo, Maria Angélica Melendi, 1945- II. Universidade Federal de Minas Gerais. Escola de Belas Artes. III. Título. CDD 701.15 Para Eliana e Michel. Para Paulo, Salomé, Ana Emília e Letícia Agradeço à Krsna, a fonte de tudo, e ao meu mestre espiritual, que me conecta à Ele. Agradecimentos sem fim à Piti, pela inspiração, cuida- do, amizade, dedicação, competência e liberdade. Agradeço à banca, todos meus professores. À Con- suelo, pela preciosa revisão. Aos colegas do grupo de pesquisa e meus amigos que contribuiram com esta pesquisa. Agradeço aos meus pais e antepassados e a todos os meus amigos que passaram ou que permanecem, me ensinando e me inspirando todos os dias.
    [Show full text]
  • Jim Drobnick (Updated February 2018)
    Curriculum Vitae Jim Drobnick (updated February 2018) Associate Professor Contemporary Art and Theory Faculty of Liberal Arts and Sciences OCAD University [email protected] EDUCATION 2006 Doctor of Philosophy. Humanities Doctoral Program, Concordia University, Montreal. Thesis title: Olfactory Dimensions in Modern and Contemporary Art. Nominated for the Governor General’s Gold Medal. 1986 Master of Fine Arts. Nova Scotia College of Art and Design, Halifax. 1981 Bachelor of Arts. Oberlin College, Oberlin, Ohio. Combined Major in Art History and Studio Art. Summa cum laude. Phi Beta Kappa. POSITIONS HELD 2006-Date Associate Professor, Contemporary Art and Theory, Faculty of Liberal Arts and Sciences, OCAD University, Toronto. 2012-Date Founder and Editor (with Jennifer Fisher), Journal of Curatorial Studies, Intellect Publishers, Bristol, UK. 2006-Date Exhibition Reviews Editor, The Senses & Society, triannual, Bloomsbury Publishing, London, UK. 2010-Date Exhibition Reviews Editor, PUBLIC: Art/Culture/Ideas, biannual, Toronto. 1994-Date Founder (with Jennifer Fisher), DisplayCult, curatorial collective. 2017-Date Research Associate, Scent Art Net: Olfactory Art in the New Millennium, https://scentart.net/. 2014-Date Research Associate, EDGE Lab (Experiential Design and Gaming Environments), Responsive Ecologies, Ryerson University, Toronto. 1998-Date Research Associate, CONSERT (Concordia Sensoria Research Team), Concordia University, Montreal. 1 2016-2017 Graduate Program Director, MA Program in Contemporary Art, Design and New Media Art Histories, Ontario College of Art & Design University, Toronto. 2009-2012 Graduate Program Director, MA Program in Contemporary Art, Design and New Media Art Histories, Ontario College of Art & Design University, Toronto. 2005-2006 Research Fellow/Visiting Scholar, Art History and Visual Studies, The School of Arts, Histories and Cultures, University of Manchester, Manchester, UK.
    [Show full text]
  • The Recurring Desire to Experience by Zakriya Rabani a Non-Thesis
    The Recurring Desire To Experience By Zakriya Rabani A non-thesis project in partial fulfillment of the requirements for the degree of Master of Fine Arts School of Art and Art History College of the Arts University of South Florida Major Professor: Cesar Cornejo, PHD Committee Member: Wendy Babcox, MFA Committee Member: Gregory Green, MFA Date of Approval: 04/11/2018 Keywords: installation, skateboards, mediated motion, soul, essence, used materials, imagination, potential, experience ⓒ Copyright 2018, Zakriya Rabani This paper reflects my worldview. I am not an expert on theory, people, life, sport, or even art, I can however speak about the concept of experience in my own life. Experience teaches us how to live, how to fail and succeed, but most importantly how to be what it is we ​ ​ desire. From a young age, my desire was to be great at everything, I felt I could achieve anything if I tried hard enough. I believe that this sense of desire is a recurring feeling throughout our lives, no matter the task, sport or occupancy. What is seen, felt and can be interpreted is shaped by experience, this is something I have realized through my upbringing and education. It is our participation with objects, environments and people that allow us to retain information. How we participate is unique to ​ ​ each individual, causing different actions and ideas to occur. Through “ ‘seeing yourself sensing’, a moment of perception, when the viewer pauses to consider what they are experiencing” and mediated motion1 where “viewers become more conscious of the act of movement through space.” I want participants to see what I see in the world.
    [Show full text]
  • Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture
    Introduction to Art Making- Motion and Time Based: A Question of the Body and its Reflections as Gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2017 When: Thursday: 6:30 p.m. to 8:20p.m. Where: PCYNH 106 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Thursday. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students.
    [Show full text]