Why Art Became Ugly Stephen R
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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. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
N. 17 Dicembre 2017/Marzo 2018 a Painting by Hans Haacke
n. 17 dicembre 2017/marzo 2018 A Painting by Hans Haacke : Dematerializing Labor di Andreas Petrossiants Artistic activity is a mode – a singular form – of labor power . Antonio Negri, 2008 1 To center an essay concerning the more - than - expansive discursive field denoted by «painting», on just one work by Hans Haacke, might at first glance seem misplaced. However, while Haacke’s work was surely instrumental for the shifts in Western artistic pra ctice comprising the «conceptual turn» of the 1960s and the parallel «dematerialization» of the art object, his painting Taking Stock (unfinished) (1983 - 1984 ) not only brings such broad period generalizations into question, but also examines the labor invo lved in producing (the value of) a painting [fig. 1]. Taking Stock (unfinished) , first exhibited at the Tate Gallery in 1984, depicts Margaret Thatcher in the style of Victorian portraiture, encoded with information concerning the careers and art collectio ns of Charles and Doris Saatchi, as well as their ties to Thatcher and her reactionary government. Referring specifically to the medium and style of the work, Haacke remarks that it was produced to cite and critique how Thatcher «expressly promotes Victori an values, nineteenth century conservative policies at the end of the twentieth century». He continues: « Thatcher would like to rule an imperial Britain. The Falklands War was typical of this mentality». 2 This essay proposes to displace and problematize the traditional discourses applied to historicizing conceptual art, and to describe how Haacke employs both physical «painterly» and immaterial conceptual labor to produce a material object. He fosters a str ategy mirroring the changes in the structure and critical position of the (art) worker 1 during the late 1960s. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
Press Release Zurich, 3 February 2017 Hans Haacke Receives The
Press release Zurich, 3 February 2017 Hans Haacke receives the Roswitha Haftmann Prize Hans Haacke (b. 1936) receives Europe’s best endowed art award, worth CHF 150,000, from the Roswitha Haftmann Foundation. The Board of the Roswitha Haftmann Foundation has decided to award the Roswitha Haftmann Prize to Hans Haacke in recognition of his life’s work. The jury praised his courageous and unflinching commitment over many decades and his ability to foster debate on social issues through provocative art, but also his intellectual brilliance and the formal quality of his works. Hans Haacke was born in Cologne in 1936 and has lived in New York since 1965. He has aroused particular controversy for the political aspects of his work. CONCEPTUAL ART AND LAND ART Haacke studied at the Staatliche Werkakademie, Kassel, from 1956 to 1960. His early works already revolved around systems and processes and analysed their workings – and failures. The young artist presented interactions between physical and biological systems, animals, plants and states of water and wind; he also made forays into land art. From 1970 onwards, he increasingly turned his attention to political developments and the mechanisms of manipula- tion – of opinions, sensibilities and historical facts. MARKET, POLITICS, MORALITY The abrupt cancellation of his exhibition at New York’s Guggenheim Museum in 1971, which was to include his ‘Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971’, on property ownership and speculation, led to a heated debate on the politics of conceptual art. In Cologne in 1974 he put forward a provocative project on the provenance of a still life by Edouard Manet purchased for the Wallraf Richartz Museum on the initiative of the then chairman of its patron association Hermann Josef Abs, and turned the spotlight on his role in the Third Reich. -
Hans Haacke Biography
P A U L A C O O P E R G A L L E R Y Hans Haacke Biography 1936 Born Cologne, Germany 1956-60 Staatliche Werkakademie (State Art Academy), Kassel, Staatsexamen (equivalent of M.F.A.) 1960-61 Stanley William Hayter's Atelier 17, Paris 1961 Tyler School of Fine Arts, Temple University, Philadelphia 1962 Moves to New York 1963-65 Return to Cologne. Teaches at Pädagogische Hochschule, Kettwig, and other institutions 1966-67 Teaches at University of Washington, Seattle; Douglas College, Rutgers University, New Jersey; Philadelphia College of Art 1967 - 2002 Teaches at Cooper Union, New York (Professor of Art Emeritus) 1973 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1979 Guest Professorship, Gesamthochschule, Essen 1994 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1997 Regents Lecturer, University of California, Berkeley Lives in New York (since 1965) Awards 1960 Deutscher Akademischer Austauschdienst (DAAD) 1961 Fulbright Fellowship 1973 John Simon Guggenheim Foundation Fellowship 1978 National Endowment for the Arts 1991 College Art Association Distinguished Artist Award for Lifetime Achievement Deutscher Kritikerpreis for 1990 Honorary Doctorate in Fine Arts, Oberlin College 1993 Golden Lion (shared with Nam June Paik), Venice Biennale 1997 Kurt-Eisner-Foundation, Munich Honorary Doctorate Bauhaus-Universität Weimar 2001 Prize of Helmut-Kraft-Stiftung, Stuttgart 2002 College Art Association Distinguished Teaching of Art Award 2004 Peter-Weiss-Preis, Bochum 2008 Honorary Doctorate, San Francisco Art Institute -
Hans Haacke, Or the Museum As Degenerate Utopia, Kritikos V.4, Marc
Hans Haacke, or the Museum as Degenerate Utopia, Kritikos V.4, Marc... http://intertheory.org/english.htm an international and interdisciplinary journal of postmodern cultural sound, text and image Volume 4, March 2007, ISSN 1552-5112 Hans Haacke, or the Museum as Degenerate Utopia Travis English To control a museum means precisely to control the representations of a community and its highest values and truths. Carol Duncan, “The Art Museum as Ritual” [1] Since the early 1970s, much of Hans Haacke’s work has focused on demystifying the relationship between museums and corporations. Museums present themselves to the public as the autonomous realm of the aesthetic, as the purveyors and protectors of cultural artifacts, while corporations present themselves as enlightened benefactors—patrons--truly interested in the cultural well-being of the community-at-large. In this sense, these two realms—cultural and corporate—do not hide their relations. In fact, most museums display the names of their corporate sponsors proudly on bronze plaques that imply the permanence of a grave marker, as if a symbiotic relationship has always existed between the Metropolitan Museum of Art and Bank of America, along with a host of other global corporations. Haacke’s work relies upon the strategies through which museums and corporations naturalize their interdependent relationships with each other. For Haacke, this relationship between museums and their corporate sponsors is one of exchange and not simply one of patronage. He writes, “…it is important to distinguish between the traditional notion of patronage and the public 1 von 20 11.06.2012 12:15 Hans Haacke, or the Museum as Degenerate Utopia, Kritikos V.4, Marc.. -
The Tao of Postmodernism: Computer Art, Scientific Visualization and Other Paradoxes Author(S): Donna J
The Tao of Postmodernism: Computer Art, Scientific Visualization and Other Paradoxes Author(s): Donna J. Cox Source: Leonardo. Supplemental Issue, Vol. 2, Computer Art in Context: SIGGRAPH '89 Art Show Catalog (1989), pp. 7-12 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1557936 Accessed: 05/04/2010 22:26 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to Leonardo. Supplemental Issue. http://www.jstor.org The Tao of Postmodernism: Computer Art, Scientific ABSTRACT The authorsuggests that a [1] paradigmshift must occur in art Visualization and Other Paradoxes criticismto assimilatethe nonlinear branchingof aesthetic activities in ourera. -
Late Modernist Versus Postmodernist Arts: Review
http://www.inosr.net/inosr-arts-and-management/ Marry and Howard INOSR ARTS AND MANAGEMENT 6(1): 55-60, 2020. ©INOSR PUBLICATIONS International Network Organization for Scientific Research ISSN: 2705-1668 Late Modernist versus Postmodernist Arts: Review Martin, Ann Ray, and Howard, Junker Department of Fine Arts, Lira University, Uganda. ABSTRACT Terms like 'modern' and 'postmodern' are subject-centered, and not based on any historical or objective phenomenon or personality. Everyone feels that something called 'Postmodernism' has happened, but, as regards its true nature and causes, opinion is divided; a few people say postmodernism is a fiction. Late modernism describes movements which arise from, and react against, trends in modernism and rejects some aspect of modernism, while fully developing the conceptual potentiality of the modernist enterprise, while postmodernism in some descriptions is a period in art which is completed, whereas in others it is a continuing movement in contemporary art. Therefore this review will check the comparison between both in the society now. Keywords: Late Modernist, Postmodernist, Arts, Society. INTRODUCTION The arts refers to the theory, human postmodernism has led to almost five application and physical expression of decades of artistic experimentation with creativity found in human cultures and new media and new art forms, including societies through skills and imagination Conceptual art, various types of in order to produce objects, environments Performance art and Installation art, as and experiences [1]. Major constituents of well as computer-aided movements like the arts include visual arts (including Deconstructivism and Projection art [4]. architecture, ceramics, drawing, Using these new forms, postmodernist filmmaking, painting, photography, and artists have stretched the definition of art sculpting), literature (including fiction, to the point where almost anything goes. -
After Hans Haacke Luke Skrebowski
This article was downloaded by: [Luke Skrebowski] On: 23 January 2013, At: 04:54 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Third Text Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ctte20 After Hans Haacke Luke Skrebowski To cite this article: Luke Skrebowski (2013): After Hans Haacke, Third Text, 27:1, 115-130 To link to this article: http://dx.doi.org/10.1080/09528822.2013.753195 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Third Text, January, 2013 Vol. 27, Issue 1, 115–130, http://dx.doi.org/10.1080/09528822.2013.753195 After Hans Haacke Tue Greenfort and Eco-Institutional Critique Luke Skrebowski A sealed transparent cube sits in the gallery space. -
ARTS 4301 Abstract Expressionism Through Postmodern Art Spring 2021 Professor: Dr. David A. Lewis Office Hours: MW, 10:00-12
ARTS 4301 Abstract Expressionism through Postmodern Art Spring 2021 Professor: Dr. David A. Lewis Office Hours: MW, 10:00-12:30; 3:30-5:00; TR 1:30-2:30pm, by appointment Preferred contact is by email: [email protected] Office phone: 936.468.4328 (Dr. Lewis does not use social media like Facebook or Twitter) Class meets, TR 3:30-4:45pm Livesstream ZOOM access will be available during the regular class period. Classes will be recorded on ZOOM and posted to D2L-BrightSpace for review. Recommend Text: H.H. Arnason & Elizabeth C. Mansfield, History of Modern Art, seventh edition. Pearson, 2013. NOTE: Selected required or recommended readings may be provided as handouts or with a web reference. Recommended resources: For those who want or need reference to background source for this course in Modern Art (c 1865-1945), see the earlier chapters of the textbook, Arneson/Mansfield, History of Modern Art, 7th edition. Also, very useful is Niko Stangos, editor, Concepts of Modern Art, from Fauvism to Postmodernism. Highly recommended for a fuller understanding American art of the 20th century: Patricia Hills, Modern Art in the USA, Issues and Controversies of the 20th Century. For graduate students, Harrison and Wood’s Art in Theory, 1900-2000 is unmatched as a comprehensive, single volume source for primary documents. COVID-19 MASK POLICY Masks (cloth face coverings) must be worn over the nose and mouth at all times in the classroom and appropriate physical distancing must be observed. Students not wearing a mask and/or not observing appropriate physical distancing will be asked to leave the class. -
THE UNFINISHABLE BUSINESS of SOUTH AFRICA in the WORK of HANS HAACKE . by Ntongela Masilela More Than Any Other Artist of Our Ti
Untitled Document THE UNFINISHABLE BUSINESS OF SOUTH AFRICA IN THE WORK OF HANS HAACKE . by Ntongela Masilela More than any other artist of our time, Hans Haacke has wrought a visual equivalent of Walter Benjamin's observation that 'there is no document of civilization which is not at the same time a document of barbarism.' - Yve-Alain Bois, "The Antidote", October (1986). Haacke ist sich bewusst, dass alle gesellschaftlichen Handlungen, einschliesslich der Kunst, explizit oder implizit politischer Natur sind. - Edward F. Fry, "Hans Haacke", Documenta 8 (Katalog), 1987. Haacke's work seems to me to emerge at this point, as a solution to certain crucial dilemmas of a left cultural politics based on this heightened awareness of the role of the institutions. - Fredric Jameson, "Hans Haacke and the Cultural Logic of Postmodernism", Hans Haacke: Unfinished Business (ed.), Brian Wallis, 1987. The most fascinating artists to this observer at last year's Documenta 8 (1987) exhibition in Kassel , West Germany were Mark Tansey, Hans Haacke and Fabrizio Plessi: an American, a German-America and an Italian. Their art work stood out in preeminence in an exhibition that included work from some of the outstanding artists of our time: Anselm Kiefer, the late Joseph Beuys, Richard Serra, Aldo Rossi, Arata Isozaki, and others. The last two-named, architects, make plain why it has been in the field of architecture that epoch-making battles, those that define processes of periodization, on the theories of postmodernism and postmodernity have been bitterlt