Christian Marclay
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Lesson Plan: Found Object Artworks Transforming Ordinary Objects
Found Object Artworks Transforming Ordinary Objects Overview: After completing this activity, students will be better able to understand the importance of materials and the juxtaposition of objects in the creative process. They will also develop or refine critical thinking skills. Age Group/Grade: 8-10 years, grades 3-5 Subject Area: Visual Arts, Language Arts Duration: approximately 40 min. Background Unidentified artist, “MINUTE MAID” Articulated Figure, A found object is a natural or man-made item that an artist or ca.1950s, "Minute Maid" his/her associates identifies as having some aesthetic value. orange juice can, carved and painted wood, and turned Artists may choose to change parts of found objects or may iron, 10 1/2 x 3 1/2 x 2 3/4 leave them whole before incorporating them into larger works. in., Gift of Herbert Waide Hemphill, Jr., and museum Discussion purchase made possible by Ralph Cross Johnson, Share with students “MINUTE MAID” Articulated Figure, which is 1986.65.277. made of a Minute Maid orange juice can, carved wood, and Using the back of their sketch, have students use descriptive turned iron. Begin your conversation with the following ques- language to give a single object five different meanings. For tions: example, a plastic pen cap might be described as: The artist created part of this artwork from a juice can. How A tall top hat for a gentleman fairy off to a dance; has the artist changed that can? Which changes altering the A pirate’s peg leg for walking the plank; can to look like clothing are particularly effective? One of many petals, fallen and curling in the sun; Explain that this figure is similar to a “limberjack.” Makers of The extra long snout of a dachshund; these dancing dolls would create jointed figures and attach them A candle waiting for a match. -
Bottle Caps to Old Shoes
Colorado Teacher-Authored Instructional Unit Sample Visual Arts 8th Grade Unit Title: Bottle Caps to Old Shoes INSTRUCTIONAL UNIT AUTHORS Delta County School District Anna Lee Couch Falcon School District Dana Orton Platte Canyon School District Jennifer Walsh Cherry Creek School District Diane Wright Colorado State University Patrick Fahey, PhD BASED ON A CURRICULUM OVERVIEW SAMPLE AUTHORED BY Jefferson County School District Elizabeth Buhr Weld County RE-1 School District Colorado’s District Sample Curriculum Project Marilee Mason-Shipp This unit was authored by a team of Colorado educators. The template provided one example of unit design that enabled teacher- authors to organize possible learning experiences, resources, differentiation, and assessments. The unit is intended to support teachers, schools, and districts as they make their own local decisions around the best instructional plans and practices for all students. DATE POSTED: MARCH 31, 2014 Colorado Teacher-Authored Sample Instructional Unit Content Area Visual Arts Grade Level 8th Grade Course Name/Course Code Standard Grade Level Expectations (GLE) GLE Code 1. Observe and Learn to 1. Conceptual art theories explain how works of art are created VA09-GR.8-S.1-GLE.1 Comprehend 2. The history of art, world cultures, and artistic styles influence contemporary art concerns VA09-GR.8-S.1-GLE.2 3. Art criticism strategies are used to analyze, interpret, and make informed judgments about works of art VA09-GR.8-S.1-GLE.3 2. Envision and Critique to 1. Visual literacy skills help to establish personal meaning and artistic intent in works of art VA09-GR.8-S.2-GLE.1 Reflect 2. -
Bio Information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: Djtrio Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP
Bio information: CHRISTIAN MARCLAY / TOSHIO KAJIWARA / DJ OLIVE: djTRIO Title: 21 SEPTEMBER 2002 (Cuneiform Rune 348) Format: LP Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: EXPERIMENTAL / SOUND ART / AVANT-GARDE / TURNTABLISM “At various moments, the mix suggested nature sounds, urban cacophony, 12-tone compositions and the tuning of radio dial” – Washington Post “An archeological excavation where whirlpool scratches, microtones and samples of thrift store-mined cheese fly around like poltergeists released from a tomb.” – XLR8R “Some amazing, static-riddled alien music.” – Dusted Start off by dispelling any outmoded notions about taking things at face value – sometimes a DJ is not just a DJ, a record is not a record, and a turntable is more than a record player. These are the basic tenets with which to enter the world of Christian Marclay’s djTRIO, especially in the case of their live recordings. World-renowned multi-media artist Marclay may be best known these days for his globally embraced film collage piece “The Clock,” but he began by redefining the roles of “musician,” “DJ,” and even “artist” itself. Since the late ‘70s, Marclay has created art by masterfully mistreating both vinyl and phonographic equipment, using them both in a manner more consistent with the way an abstract sculptor employs raw materials in the service of a larger vision. Sometimes these sonic journeys utilizing a turntable as a sextant have been in-the-moment experiences and sometimes they’ve been captured for posterity, but 21 September 2002 on Cuneiform Records happens to be both. -
“The Aesthetics of Play” Dada/Dadaism a Cultural
Examples and references mentioned in Celia Pearce’s text “the Aesthetics of Play” Dada/Dadaism A cultural movement that began in Zurich, Switzerland, during World War I and peaked from 1916 to 1922. The movement primarily involved visual arts, literature—poetry, art manifestoes, art theory—theatre, and graphic design It is an example of art as counter-movement and favored anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. In response to the terrible events and the tragedy of WW1 Dada favored nonsensical, outrageous and sometimes anarchist actions as responses to the speechlessness and shock of a whole generation. Example: Kurt Schitters, Uronate, 1922-32 (excerpt) http://costis.org/x/schwitters/ursonate.htm Highly influential to the Surrealist, Fluxus and Punk Rock movements Readymades Marchel Duchamp – readymade: "an ordinary object elevated to the dignity of a work of art by the mere choice of an artist." Most radical form of art at the time - in contrast to "retinal art" — art that was only visual. Art creating controversy: Porcelain urinal inscribed "R. Mutt 1917." Marcel Duchamp, Fountain 1917. Other Duchamp readymades include for example 50 cc of Paris Air (50 cc air de Paris, Paris Air or Air de Paris) (1919): A glass ampoule containing air from Paris, and L.H.O.O.Q. the objet trouvé ("found object") which is a cheap postcard reproduction of Leonardo da Vinci's Mona Lisa onto which Duchamp drew a moustache and beard in pencil and appended the title. When pronounced in French form the sentence "Elle a chaud au cul", which can be translated as "She has a hot ass" This work can be seen not only to critique established art conventions, but to also force the audience to put aside what they had thought before and look at something with a completely different perspective. -
Found Object
FOUND OBJECT ‘A found object is a natural or man-made object – or fragment of an object – that is found (or sometimes bought) by an artist and kept because of some intrinsic interest the artist sees in it’ The term ‘found object’ was conceived from a loan translation, that is, a word or phrase directly taken from another language through literal word for word translation. In this case, from the French ‘objet trouvé’. This artistic concept was introduced to the world in the early 20th century, in a period where many artists sought to challenge the traditional notions on the true nature of art, and its value. Art created using the found object, describes undisguised, often altered, objects or products that one could find in day-to-day life. These objects, which lacked any association with art, being an item or thing with their own individual purpose, were considered particularly unconventional, in their use as an artistic medium. Pablo Picasso, acknowledged globally for his contributions to the development of Modern art during the 20th century, first applied the concept in his painting titled ‘Still Life with Chair Caning’ (1912). The piece was completed on a circular canvas, edged with rope, with a printed image of chair caning. By incorporating industrially produced products (low culture), into the field of fine art (high culture), Picasso effectively opens up a line of questioning, concerning both the role of the technical skills in making art and of mass-produced objects. Despite Picasso’s earlier involvement, the concept is widely thought to have been perfected, several years later, when Marcel Duchamp released a series of “ready-mades”. -
Cultural Ramifications of the Found Object in Contemporary African Art
International Journal of Multiculturalism Volume 2, Number 1, 2021. 50-74 DOI: 10.30546/2708-3136.2021.2.1.50 CULTURAL RAMIFICATIONS OF THE FOUND OBJECT IN CONTEMPORARY AFRICAN ART Clement E. AKPANG FRSA : https://orcid.org/ 0000-0002-5510-4304 Cross River University of Technology, Calabar, Nigeria © The Author(s) 2021 ABSTRACT ARTICLE INFO Arguably Found Object genre represents the most dominant form of ARTICLE HISTORY contemporary artistic expression with unlimited possibilities of material exploration and conceptual ideation. However, Found Object discourse Received: institutionalized in European art history is exclusively western and dismisses 17 November , 2020 Accepted: those of other cultures as mimesis and time-lag. This paper aims to prove that the dominant contemporary discourse of „Recyla Art‟ which many African sculptors 8 February, 2021 Published: have been absorbed into, problematically blurs the conceptual and ideological 25 April, 2021 differences in European and African exploration of discarded objects in art Available online: creation. Using a triangulation of Formalism, Iconography and Interviews as 25 April, 2021 methodologies, this paper subjects the works of El Anatsui, Delumprizulike, Nnena Okore, Bright Eke, Olu Amonda and others to formalistic and interpretative analysis to establish the postcolonial context of the found object in contemporary African art. Findings demonstrate that European and African appropriation of discarded objects in art differs according to societal context in KEYWORDS form and content. The paper therefore concludes that found object art is culture- specific and defined by unique cultural ramifications, thus, to fully understand Found Object, Art, the dynamism of this art genre, a culture-specific or localized reading is required Culture, Ramifications, because the context of its emergence in Europe stands in contradiction to its Africa, Europe conceptualism in contemporary African art-space. -
The Blue Notebook Volume 4 No.2 April 2010
The Blue Notebook Volume 4 No.2 April 2010 1 The Blue Notebook is published in two formats: an online colour version, and a paper, black and white version. An annual subscription covers both formats for two issues, UK or international. For subscriptions, please download the form on our publications page: www.bookarts.uwe.ac.uk/bnotebk.htm or contact us for a postal form. We welcome submissions of writing on contemporary artists’ books and related issues for The Blue Notebook. Please email [email protected] for guidelines, or see: www.bookarts.uwe.ac.uk/bnotebk.htm Artists’ contributions are by invitation from the Art Editor, Tom Sowden. The Blue Notebook journal for artists’ books is published by Wild Conversations Press, Bristol www.wildconversations.isophia.co.uk Editor: Sarah Bodman Art Editor: Tom Sowden Design: Sarah Bodman and Tom Sowden Cover Design: Tom Sowden Editorial address: Impact Press at the Centre for Fine Print Research UWE Bristol, School of Creative Arts Kennel Lodge Road, Bristol, BS3 2JT, UK Tel: +44 (0)117 328 4915 Fax: +44 (0)117 328 5865 [email protected] [email protected] www.bookarts.uwe.ac.uk The Blue Notebook Vol.4 No.2 April 2010 ISSN 1751-1712 (print) ISSN 1751-1720 (online) © 2010 publication, Impact Press © 2010 texts, individual authors © 2010 images, individual artists Permission to photocopy texts for personal use, one-off educational use in study packs, or for individual academic study is granted. For any other use, please contact the editor and the individual author or artist for their authorisation. -
A Critical Reassessment of Duchamp's Readymades and His Antiaesthetic of the Ordinary
University of Mary Washington Eagle Scholar Student Research Submissions Spring 5-1-2015 A Critical Reassessment of Duchamp's Readymades and his Antiaesthetic of the Ordinary Alexandra M. Parrish Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Parrish, Alexandra M., "A Critical Reassessment of Duchamp's Readymades and his Antiaesthetic of the Ordinary" (2015). Student Research Submissions. 103. https://scholar.umw.edu/student_research/103 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. A CRITICAL REASSESSMENT OF DUCHAMP'S READYMADES AND HIS ANTIAESTHETIC OF THE ORDINARY An honors paper submitted to the Department of Art and Art History of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Alexandria M Parrish May 2015 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Alexandria M. Parrish 05/01/15 (digital signature) University of Mary Washington A Critical Reassessment of Duchamp's Readymades and his Antiaesthetic of the Ordinary By: Alexandria Parrish Faculty Advisor: Professor Joseph Dreiss Spring 2015 2 Marcel Duchamp has been described fittingly by painter Willem de Kooning as a "one-man movement."1 During his lifetime Duchamp created a limited number of works that had a seemingly infinite impact on modern art. -
T of À1 Radio
ism JOEL L.R.PHELPS EVERCLEAR ,•• ,."., !, •• P1 NEW MUSIC REPORT M Q AND NOT U CIRCLE December 25, 2000 I www.cmj.com 138.0 ******* **** ** * *ALL FOR ADC 90198 24498 Frederick Gier KUOR -REDLANDS 5319 HONDA AVE APT G ATASCADERO, CA 93422-3428 ON BEING NO. 1, TOURING WITH U2 & WHY WILL OLDHAM AND RAYMOND CARVER KICK ASS tof à1 Radio HOW PERFORMANCE ROYALTIES WILL AFFECT COLLEGE RADIO WHAT IT'S DOING TO INDIE RETAIL INCLUDING THE BLAZING HIT SINGLE "OH NO" ALBUM IN STORES NOW EF •TARIM INEWELII KUM. G RAP at MOP«, DEAD PREZ PHARCIAHE MUNCH •GHOST FACE NOTORIOUS J11" MONEY PASTOR TROY Et MASTER HUM BIG NUMB e PRODIGY•COCOA BROVAZ HATE DOME t.Q-TIIP Et WORDS e!' le.‘111,-ZéRVIAIMPUIMTPIeliElrÓ Issue 696 • Vol 65 • No 2 Campus VVebcasting: thriving. But passion alone isn't enough 11 The Beginning Of The End? when facing the likes of Best Buy and Earlier this month, the U.S. Copyright Office other monster chains, whose predatory ruled that FCC-licensed radio stations tactics are pricing many mom-and-pops offering their programming online are not out of business. exempt from license fees, which could open the door for record companies looking to 12 PJ Harvey: Tales From collect millions of dollars from broadcasters. The Gypsy Heart Colleges may be among the hardest hit. As she prepares to hit the road in support of her sixth and perhaps best album to date, 10 Sticker Shock Polly Jean Harvey chats with CMJ about A passion for music has kept indie music being No. -
Found Object/Readymade Art in the Treatment of Trauma and Loss
Journal of Clinical Art Therapy Volume 3 Issue 1 Journal of Clinical Art Therapy, 3rd Article 3 Edition July 2016 Found Object/Readymade Art in the Treatment of Trauma and Loss Michal Bat Or University of Haifa, [email protected] Orna Megides University of Haifa, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/jcat Part of the Clinical Psychology Commons, Counseling Psychology Commons, Psychological Phenomena and Processes Commons, and the Social Work Commons Recommended Citation Bat Or, M. , Megides, O. (2016). Found Object/Readymade Art in the Treatment of Trauma and Loss. Journal of Clinical Art Therapy, 3(1), , retrieved from: https://digitalcommons.lmu.edu/ jcat/vol3/iss1/3 This Peer Reviewed Article is brought to you for free and open access by the Marital and Family Therapy at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Journal of Clinical Art Therapy by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Found Object/Readymade Art in the Treatment of Trauma and Loss Cover Page Footnote Acknowledgments:To my teachers- Judith Siano and Tamar Hazut, for their unforgettable invitations to create readymade; to my students, Michal Rubens, Noa Lavie, and Sivan Kfir who have deepened my observation; and to Etiya Hayut for her precious psychoanalytic insights. This peer reviewed article is available in Journal of Clinical Art Therapy: https://digitalcommons.lmu.edu/jcat/vol3/ iss1/3 Bat Or and Megides: Found object/Readymade 1 Abstract Found object/readymade art is a familiar expressive medium in art therapy that has been insufficiently explored. -
Holiday Fund 8 Spectrum 17 Seniors 18 Eating out 25 Shop Talk 26 INSIDE ENJOY CLASS GUIDE
Vol. XXXV, Number 13 N January 3, 2014 PAGE 22 Holiday Fund 8 Spectrum 17 Seniors 18 Eating Out 25 Shop Talk 26 INSIDE ENJOY CLASS GUIDE NUpfront Plane route over Palo Alto eyed Page 5 NHome Website offers remodeling ideas Page 27 NSports Stanford loses 24-20 in the Rose Bowl Page 44 LIGHT UP YOUR LIFE (AND POCKET THE SAVINGS) RECEIVE ENERGY STAR® DISCOUNT LED BULBS! City of Palo Alto Utilities is selling SWITCH Infi nia 60W equivalent LED bulbs for $9.99, and a 40W equivalent for $8.99. (Prices are about half of regular retail!) Take advantage of this great energy-saving offer while supplies last! * t Lifetime residential warranty t 25,000 hour/22 year life t Full 300o light distribution t Warm light (2700K) t Works with most dimmers (See switchlightingco.com/infi nia) tUL rated for indoor, outdoor and damp locations Use the coupon below to receive your discounted energy effi cient LED light bulbs, while supplies last at any of these three locations: Ace Hardware—875 Alma St. Fry’s Electronics—340 Portage Ave. Piazza’s Fine Foods—3922 Middlefi eld Rd. LED DISCOUNT * COUPON ""#$# $ $$' %#$ "# ' %#$# &!" "#' &$ %! $$ !%"# 650-329-2241 www.cityofpaloalto.org/lighting Page 2ÊUÊ>Õ>ÀÞÊÎ]ÊÓä£{ÊUÊ*>ÊÌÊ7iiÞÊUÊÜÜܰ*>Ì"i°V Sellers Wanted Our Motivated Buyers Need Your Help Buyer 1 Buyer 2 Buyer 3 3 Bed + | 2 Bath + 3 Bed + | 2 Bath + 3 Bed + | 2 Bath + | View 1 Acre lot + Atherton Sharon Heights Woodside | Portola Valley Central Atherton Up to $3,500,000 Emerald Hills Up to $5,000,000 Up to $3,000,000 Buyer 4 Buyer 5 Buyer 6 3 Bed -
80 Blocks from Tiffany's: the Insistence of Life on the Periphery
80 Blocks From Tiffany’s: The Insistence of Life on the Periphery of Empire Studio Curriculum By Shellyne Rodriguez This 10-week studio curriculum ex- plores many of the themes and con- cepts present in the exhibition 80 Blocks from Tiffany’s: The Insistence of Life on the Periphery of Empire, an online exhibition of new work by Shellyne Rodriguez at The Bronx Mu- Shellyne Rodriguez, Uptown Vinyl Supreme, 2020, colored pencil on paper 22 x 26 in seum of the Arts. Shellyne’s artwork depicts friends, comrades, and neigh- bors from the artist’s community in the places they live and hustle. Shellyne Rodriguez is an artist, educator, writer, and community organizer based in the Bronx. Her art practice is expressed through multiple mediums, such as drawing, paint- ing, collage, sculpture and text, to depict or archive spaces and subjects engaged in strategies of survival against op- pression. Shellyne’s work is rooted in hip hop culture and thinks through hip hop’s ability to reinvent itself, pulling from a variety of sources to create something new. The ongoing inquiry in the work is how to sway and bend and duck and run and scream and mend and scratch and break and heal and push forward, utilizing a variety of sources and mediums. To sample and remix. To think and to make. And what does that look like in an object? As a narrative? As an action? As a gesture or a sound? On paper or on canvas? Week 1 Sample and Remix as Collage Shellyne describes her artwork as a “sample and remix,” which is the technique a deejay uses to mix hip hop records.