Challenging Tradition
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Philosophy in the Artworld: Some Recent Theories of Contemporary Art
philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything. -
Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
Formalism Post- Formalism
FORMALISM POST- FORMALISM nonsite.org is an online, open access, peer-reviewed quarterly journal of scholarship in the arts and humanities 7 affiliated with Emory College of Arts and Sciences. 2014 all rights reserved. ISSN 2164-1668 EDITORIAL BOARD Bridget Alsdorf Ruth Leys James Welling Jennifer Ashton Walter Benn Michaels Todd Cronan Charles Palermo Lisa Chinn, editorial assistant Rachael DeLue Robert Pippin Michael Fried Adolph Reed, Jr. Oren Izenberg Victoria H.F. Scott Brian Kane Kenneth Warren SUBMISSIONS ARTICLES: SUBMISSION PROCEDURE Please direct all Letters to the Editors, Comments on Articles and Posts, Questions about Submissions to [email protected]. Potential contributors should send submissions electronically via nonsite.submishmash.com/Submit. Applicants for the B-Side Modernism/Danowski Library Fellowship should consult the full proposal guidelines before submitting their applications directly to the nonsite.org submission manager. Please include a title page with the author’s name, title and current affiliation, plus an up-to-date e-mail address to which edited text and correspondence will be sent. Please also provide an abstract of 100-150 words and up to five keywords or tags for searching online (preferably not words already used in the title). Please do not submit a manuscript that is under consideration elsewhere. 1 ARTICLES: MANUSCRIPT FORMAT Accepted essays should be submitted as Microsoft Word documents (either .doc or .rtf), although .pdf documents are acceptable for initial submissions.. Double-space manuscripts throughout; include page numbers and one-inch margins. All notes should be formatted as endnotes. Style and format should be consistent with The Chicago Manual of Style, 15th ed. -
2017 Abstracts
Abstracts for the Annual SECAC Meeting in Columbus, Ohio October 25th-28th, 2017 Conference Chair, Aaron Petten, Columbus College of Art & Design Emma Abercrombie, SCAD Savannah The Millennial and the Millennial Female: Amalia Ulman and ORLAN This paper focuses on Amalia Ulman’s digital performance Excellences and Perfections and places it within the theoretical framework of ORLAN’s surgical performance series The Reincarnation of Saint Orlan. Ulman’s performance occurred over a twenty-one week period on the artist’s Instagram page. She posted a total of 184 photographs over twenty-one weeks. When viewed in their entirety and in relation to one another, the photographs reveal a narrative that can be separated into three distinct episodes in which Ulman performs three different female Instagram archetypes through the use of selfies and common Instagram image tropes. This paper pushes beyond the casual connection that has been suggested, but not explored, by art historians between the two artists and takes the comparison to task. Issues of postmodern identity are explored as they relate to the Internet culture of the 1990s when ORLAN began her surgery series and within the digital landscape of the Web 2.0 age that Ulman works in, where Instagram is the site of her performance and the selfie is a medium of choice. Abercrombie situates Ulman’s “image-body” performance within the critical framework of feminist performance practice, using the postmodern performance of ORLAN as a point of departure. J. Bradley Adams, Berry College Controlled Nature Focused on gardens, Adams’s work takes a range of forms and operates on different scales. -
Press Release for Immediate Release Berry Campbell Presents Raymond Hendler: Raymond by Raymond (Paintings 1957-1967)
PRESS RELEASE FOR IMMEDIATE RELEASE BERRY CAMPBELL PRESENTS RAYMOND HENDLER: RAYMOND BY RAYMOND (PAINTINGS 1957-1967) NEW YORK, NEW YORK, June 29, 2021—Berry Campbell is pleased to announce its fourth exhibition of paintings by Raymond Hendler (1923-1998). Raymond Hendler: Raymond by Raymond (Paintings 1957-1967) features paintings created between 1957 and 1967, a transitional period for Hendler in which the artist moved away from an Abstract Expressionist mode and employed a more stylized line, producing distinct shapes and symbols. The exhibition is accompanied by a 16-page catalogue with an essay written by Phyllis Braff. Raymond Hendler: Raymond by Raymond (Paintings 1957-1967) opens July 8, 2021 and continues through August 20, 2021. Gallery summer hours are Monday - Friday, 10 am - 6 pm. ABOUT THE ARTIST A first-generation action painter, Raymond Hendler started his career as an Abstract Expressionist in Paris as early as 1949. In the years that followed, he played a significant role in the movement, both in New York, where he was the youngest voting member of the New York Artist’s Club. Hendler became a friend of Franz Kline, Willem de Kooning, Jackson Pollock, and Harold Rosenberg in Philadelphia, where he ran an avant-garde gallery between 1952 and 1954. Raymond Hendler was born in Philadelphia, Pennsylvania in 1923 and studied in his native Philadelphia, at the Graphic Sketch Club, the Philadelphia College of Art, the Pennsylvania Academy of Art, and the Tyler School of Art (Temple University). In 1949, he continued his art training in Paris at the Académie de la Grande Chaumière on the G.I. -
LEE KRASNER Public Information (Selected Chronology)
The Museum of Modern Art 79 LEE KRASNER Public Information (Selected Chronology) 1908 Born October 27, Lenore Krassner in Brooklyn, New York. 1926-29 Studies at Women's Art School of Cooper Union, New York City. 1928 Attends Art Students League. 1929-32 Attends National Academy of Design. 1934-35 Works as an artist on Public Works of Art Project and for the Temporary Emergency Relief Administration. Joins the WPA Federal Art Project as an assistant in the Mural Division. 1937-40 Studies with the artist Hans Hofmann. 1940 Exhibits with American Abstract Artists at the American Fine Arts Galleries, New York. 1942 Participates in "American and French Paintings," curated by John Graham at the McMillen Gallery, New York. As a result of the show, begins acquaintance with Jackson Pollock. 1945 Marries Jackson Pollock on October 25 at Marble Collegiate Church, New York. Exhibits in "Challenge to the Critic" with Pollock, Gorky, Gottlieb, Hofmann, Pousette-Dart, and Rothko, at Gallery 67, New York. 1946-49 Creates "Little Image" all-over paintings at Springs, Easthampton. 1951 First solo exhibition, "Paintings 1951, Lee Krasner," at Betty Parsons Gallery, New York. 1953 Begins collage works. 1955 Solo exhibition of collages at Stable Gallery, New York. 1956 Travels to Europe for the first time. Jackson Pollock dies on August 11. 1959 Completes two mosaic murals for Uris Brothers at 2 Broadway, New York. Begins Umber and Off-White series of paintings. 1965 A retrospective, "Lee Krasner, Paintings, Drawings, and Col lages," is presented at Whitechapel Art Gallery in London (circulated the following year to museums in York, Hull, Nottingham, Newcastle, Manchester, and Cardiff). -
Jackson Pollock in Action
LESSON 10 TEACHER’S GUIDE Jackson Pollock in Action by Barbara Tillman Fountas-Pinnell Level S Biography Selection Summary Jackson Pollock pursued his passion for art in high school and at the Art Students League in New York. He studied the work of artists he admired and eventually developed his own style of abstract art. Number of Words: 1,263 Characteristics of the Text Genre • Biography Text Structure • Narrative text organized in fi ve short chapters. • Details help the reader understand the author’s purpose. Content • Abstract art • How Pollock became an artist • Reactions to an artist’s work Themes and Ideas • Artists can be inspired by their surroundings. • An artist’s work communicates his own thoughts, feelings, and ideas. • Abstract art appeals to some, but not all, viewers. Language and • Descriptive language Literary Features • Conversational tone Sentence Complexity • Longer complex sentence structures with embedded phrases and clauses • Sentences with parenthetical material Vocabulary • Many art terms, some of which might not be familiar, such as composition, mural, technique Words • Many multisyllable words some of them challenging, such as reservations, muralist, unattractive • Phonetic pronunciation provided Illustrations • Illustrations support text and add interest. Book and Print Features • Eleven pages of text with a timeline at the end • Table of contents with easy-to-read chapter headings • Captions and text box support text. © 2006. Fountas, I.C. & Pinnell, G.S. Teaching for Comprehending and Fluency, Heinemann, Portsmouth, N.H. Copyright © by Houghton Mifflin Harcourt Publishing Company All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage or retrieval system, without the prior written permission of the copyright owner unless such copying is expressly permitted by federal copyright law. -
A Finding Aid to the Elaine De Kooning Papers, Circa 1959-1989, in the Archives of American Art
A Finding Aid to the Elaine de Kooning papers, circa 1959-1989, in the Archives of American Art Harriet E. Shapiro and Erin Kinhart 2015 October 21 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Personal Papers, circa 1960s-1989.......................................................... 4 Series 2: Interviews, Conversations, and Lectures, 1978-1988............................... 5 Series 3: Photographs, circa 1960s, 2013............................................................... 7 Series 4: Printed Material, 1961-1982.................................................................... -
Current Issues in the Conservation of Contemporary Art and Its Non-Traditional Materials
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials Sandra Hong Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Art and Materials Conservation Commons, Contemporary Art Commons, Interactive Arts Commons, and the Interdisciplinary Arts and Media Commons Recommended Citation Hong, Sandra, "Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials" (2018). MA Theses. 15. https://digitalcommons.sia.edu/stu_theses/15 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko Monica Peacock A thesis submitted in conformity with the requirements for the Master’s Degree in Art Business Sotheby’s Institute of Art 2018 12,043 Words High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko By: Monica Peacock Abstract: Transitional works of art are an anomaly in the field of fine art appraisals. While they represent mature works stylistically and/or contextually, they lack certain technical or compositional elements unique to that artist, complicating the process for identifying comparables. Since minimal research currently exists on the value of these works, this study sought to standardize the process for identifying transitional works across multiple artists’ markets and assess their financial value on a broad scale through an analysis of three artists: Jackson Pollock, Willem de Kooning, and Mark Rothko. -
Jackson Pollock & Tony Smith Sculpture
Jackson Pollock & Tony Smith Sculpture An exhibition on the centennial of their births MATTHEW MARKS GALLERY Jackson Pollock & Tony Smith Speculations in Form Eileen Costello In the summer of 1956, Jackson Pollock was in the final descent of a downward spiral. Depression and alcoholism had tormented him for the greater part of his life, but after a period of relative sobriety, he was drinking heavily again. His famously intolerable behavior when drunk had alienated both friends and colleagues, and his marriage to Lee Krasner had begun to deteriorate. Frustrated with Betty Parsons’s intermittent ability to sell his paintings, he had left her in 1952 for Sidney Janis, believing that Janis would prove a better salesperson. Still, he and Krasner continued to struggle financially. His physical health was also beginning to decline. He had recently survived several drunk- driving accidents, and in June of 1954 he broke his ankle while roughhousing with Willem de Kooning. Eight months later, he broke it again. The fracture was painful and left him immobilized for months. In 1947, with the debut of his classic drip-pour paintings, Pollock had changed the direction of Western painting, and he quickly gained international praise and recog- nition. Four years later, critics expressed great disappointment with his black-and-white series, in which he reintroduced figuration. The work he produced in 1953 was thought to be inconsistent and without focus. For some, it appeared that Pollock had reached a point of physical and creative exhaustion. He painted little between 1954 and ’55, and by the summer of ’56 his artistic productivity had virtually ground to a halt. -
The Effect of War on Art: the Work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The effect of war on art: the work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Doland, Elizabeth Leigh, "The effect of war on art: the work of Mark Rothko" (2010). LSU Master's Theses. 2986. https://digitalcommons.lsu.edu/gradschool_theses/2986 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE EFFECT OF WAR ON ART: THE WORK OF MARK ROTHKO A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Elizabeth Doland B.A., Louisiana State University, 2007 May 2010 TABLE OF CONTENTS ABSTRACT…………………………………………………………………iii CHAPTER 1 INTRODUCTION……………………………………………........1 2 EARLY LIFE……………………………………………………....3 Yale Years……………………………………………………6 Beginning Life as Artist……………………………………...7 Milton Avery…………………………………………………9 3 GREAT DEPRESSION EFFECTS………………………………...13 Artists’ Union………………………………………………...15 The Ten……………………………………………………….17 WPA………………………………………………………….19