Unarthodox: an Investigation of How Children Articulate Their Sense of Self Through Art
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All These Post-1965 Movements Under the “Conceptual Art” Umbrella
All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation -
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. -
The Shape of the Stone Was Stoneshaped Between the Generations of Dick Higgins and David Rokeby Lisa Moren
09 moren 9/2/05 11:31 am Page 69 The Shape of the Stone was Stoneshaped Between the generations of Dick Higgins and David Rokeby lisa moren Whereas my body, taken at a single moment, is but a conductor interposed between the objects which influence it and those on which it acts, it is nevertheless, when replaced in the flux of time, always situated at the very point where my past expires in a deed. Bergson 1991: 78–9 At first glance it may seem that a programmer clichés, through collage techniques in time and and builder of multi-media surveillance-to- space. Rokeby, although working in new media sound systems in the current São Paolo tools, consciously broke from the philosophy of Biennale has little in common with the demate- the media generation and worked distinctly as a rializations of a Fluxus artist, or in the direct software artist, who romantically makes art experiential forms of the Happenings art from the scratch material of code (Manovich movement. However, the fundamental gestures page 4 ‘Generation flash’). An examination of a within interactive art of the 1990s can be found selection of work by these two artists, and their in the corporeal work of Fluxus, performance relevant contemporaries, provides a point of art, Situationism, process art, participatory convergence regarding the mechanical transfer- works and Happenings generated in the 1960s. ence of ideas from the body to the computer and The notion that the viewer completes a work the transformation of the subject through manifested itself literally with the emergence of empowering the spectator to participate as interactive art. -
Untranslating the Neo-Avant-Gardes Luke Skrebowski
INTRODUCTION UnTranslaTing The neo-aVanT-garDes luke skrebowski This guest-edited issue aims to trouble assumptions about the trans- latability of various global neo-avant-gardes into canonical Anglo- American terms and categories—including Pop, Minimalism, Conceptualism—however problematized and expanded they may be in the process. The assumptions I have in mind tend to prop up the cul- tural hegemony of Western institutions by means of a logic of inclusion that serves to reinforce rather than destabilize the status quo. To this end, this issue foregrounds the problem of translation, and specifi cally the fi gure of “the untranslatable,” to address the mediation of global neo-avant-gardes in a more refl exive way, going beyond the often nebu- lous and frequently one-sided notions of “infl uence,” “interaction,” or “contact” that continue to characterize much of the discourse on the global neo-avant-gardes. The notion of the untranslatable is borrowed from Barbara Cassin, via Emily Apter and Jacques Lezra, and is developed here for comparative work in, but also in a certain sense against, global art his- tory. Cassin’s multilingual philosophical lexicon Vocabulaire européen des philosophies: Dictionnaire des intraduisibles (2004) consists of a select number of terms drawn from particular national and linguistic philosophical traditions which are chosen precisely for their “untrans- latability,” a term that, as Cassin insists, “n’implique nullement que les termes en question . ne soient pas traduits et ne puissent pas 4 © 2018 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_e_00206 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/artm_e_00206 by guest on 26 September 2021 l’être—l’intraduisible c’est plutôt ce qu’on ne cesse pas de (ne pas) traduire.” (“In no way implies that the terms in question . -
Gce History of Art Major Modern Art Movements
FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective. -
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. -
Desperate Housewives a Lot Goes on in the Strange Neighborhood of Wisteria Lane
Desperate Housewives A lot goes on in the strange neighborhood of Wisteria Lane. Sneak into the lives of five women: Susan, a single mother; Lynette, a woman desperately trying to b alance family and career; Gabrielle, an exmodel who has everything but a good m arriage; Bree, a perfect housewife with an imperfect relationship and Edie Britt , a real estate agent with a rocking love life. These are the famous five of Des perate Housewives, a primetime TV show. Get an insight into these popular charac ters with these Desperate Housewives quotes. Susan Yeah, well, my heart wants to hurt you, but I'm able to control myself! How would you feel if I used your child support payments for plastic surgery? Every time we went out for pizza you could have said, "Hey, I once killed a man. " Okay, yes I am closer to your father than I have been in the past, the bitter ha tred has now settled to a respectful disgust. Lynette Please hear me out this is important. Today I have a chance to join the human rac e for a few hours there are actual adults waiting for me with margaritas. Loo k, I'm in a dress, I have makeup on. We didn't exactly forget. It's just usually when the hostess dies, the party is off. And I love you because you find ways to compliment me when you could just say, " I told you so." Gabrielle I want a sexy little convertible! And I want to buy one, right now! Why are all rich men such jerks? The way I see it is that good friends support each other after something bad has happened, great friends act as if nothing has happened. -
Desperate Housewives
Desperate Housewives Titre original Desperate Housewives Autres titres francophones Beautés désespérées Genre Comédie dramatique Créateur(s) Marc Cherry Musique Steve Jablonsky, Danny Elfman (2 épisodes) Pays d’origine États-Unis Chaîne d’origine ABC Nombre de saisons 5 Nombre d’épisodes 108 Durée 42 minutes Diffusion d’origine 3 octobre 2004 – en production (arrêt prévu en 2013)1 Desperate Housewives ou Beautés désespérées2 (Desperate Housewives en version originale) est un feuilleton télévisé américain créé par Charles Pratt Jr. et Marc Cherry et diffusé depuis le 3 octobre 2004 sur le réseau ABC. En Europe, le feuilleton est diffusé depuis le 8 septembre 2005 sur Canal+ (France), le 19 mai sur TSR1 (Suisse) et le 23 mai 2006 sur M6. En Belgique, la première saison a été diffusée à partir de novembre 2005 sur RTL-TVI puis BeTV a repris la série en proposant les épisodes inédits en avant-première (et avec quelques mois d'avance sur RTL-TVI saison 2, premier épisode le 12 novembre 2006). Depuis, les diffusions se suivent sur chaque chaîne francophone, (cf chaque saison pour voir les différentes diffusions : Liste des épisodes de Desperate Housewives). 1 Desperate Housewives jusqu'en 2013 ! 2La traduction littérale aurait pu être Ménagères désespérées ou littéralement Épouses au foyer désespérées. Synopsis Ce feuilleton met en scène le quotidien mouvementé de plusieurs femmes (parfois gagnées par le bovarysme). Susan Mayer, Lynette Scavo, Bree Van De Kamp, Gabrielle Solis, Edie Britt et depuis la Saison 4, Katherine Mayfair vivent dans la même ville Fairview, dans la rue Wisteria Lane. À travers le nom de cette ville se dégage le stéréotype parfaitement reconnaissable des banlieues proprettes des grandes villes américaines (celles des quartiers résidentiels des wasp ou de la middle class). -
Redefining the Art Experience : from Static to Temporal Art Forms
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1998 Redefining The Art Experience : From Static To Temporal Art Forms Justine McKnight Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation McKnight, J. (1998). Redefining The Art Experience : From Static To Temporal Art Forms. https://ro.ecu.edu.au/theses/1450 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1450 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
This Minimalist Has a Massive Attitude
This Minimalist Has a Massive Attitude German sculptor Ulrich Ruckriem scours Europe to find just the right stones for his huge works. It's part of a process he wants you to see. September 21, 1997 | Kristine McKenna | Kristine McKenna is a regular contributor to Calendar Minimalism is generally thought of as an American innovation. With Carl Andre, Donald Judd and Dan Flavin leading the charge, this austere, largely geometric style marched alongside Pop during the late 1960s, and together they brought an end to the reign of Abstract Expressionism. This episode of history transpired in Manhattan for the most part, but Minimalism also had its representatives in Europe; prominent among them is German artist Ulrich Ruckriem, whose work is on view through Nov. 1 at Ace Contemporary Exhibitions. Working in quarries throughout Europe, Ruckriem selects massive stones and has them cut into squares, then fits the pieces back together so the cuts create a grid of lines on the stones' surfaces. Ruckriem's insistence on drawing the viewers' attention to all traces of his intervention with his materials made him, along with American artists Richard Serra and Robert Morris, a key figure in establishing Process art as an outgrowth of Minimalism. Ruckriem's work isn't widely known in L.A., but it has been seen here before, in an exhibition at the nowdefunct HoffmanBorman Gallery in 1988. His show at Ace hasn't exactly been smooth sailing, however. It was originally conceived for Ace Gallery in New York, but plans changed when the Guggenheim Museum waved a check at Ace owner Doug Chrismas for the use of his gallery, which they needed to display Robert Rauschenberg's "The 1/4 Mile or 2 Furlong Piece." They wanted to include that massive work in progress begun in 1981 in the Rauschenberg retrospective, which opens this weekend in New York, and it was too large to fit in either of the Guggenheim buildings. -
Sternberg Press / Style Sheet
STERNBERG PRESS / STYLE SHEET • Titles: First and all significant words in text/essay titles are capitalized • Titles of books, artworks, films, musical albums etc. are italicized • Titles of exhibitions, essays, poems, songs, short stories, etc. appear within double quotation marks (“ ”) • Punctuation: following American standards, punctuation appears within the quotation marks (with the exception of colons or semi-colons, i.e. “free speech”:). Also consistent with American standards, a serial comma is used in a phrase with three or more elements, preceding an “and,” “or,” etc.: “There were lectures, performances, and screenings.” • Quoted material: All quotes appear within double (“ ”) quotation marks. The same is the case with words used by an author in a pejorative (critical/disbelieving/sardonic) way, i.e. I became a “serious” artist. Single quotations appear only when there is a quotation within a quotation. Quotations within block quotations should be contained with double quotation marks. • Foreign words and words that need special emphasis are italicized, although the use of italics for emphasis should be done sparingly. • Artistic/Architectural styles: Names of specific artistic styles are uppercased unless they are used in a context that does not refer to their specific art-historical meaning, however “modernism” is always lowercase. Example 1: “Her piece was characteristically minimalistic.” Example 2: “This sculpture bears all the markings of the Minimalist movement.” • Dates/Years: Consistent with American format: February 6, 2005 / 1960s / 1990 / centuries are spelled out, i.e. the twentieth century, and hyphenated when used as an adjective, i.e. twentieth-century architecture. Abbreviated decades are written with an apostrophe (not single quotation mark) (i.e., ’60s). -
The Politics of Aesthetics of Contemporary Art in Slovenia and Its Avant-Garde Sources
Filozofski vestnik | Letnik XXXVII | Številka 1 | 2016 | 133–156 Mojca Puncer* The Politics of Aesthetics of Contemporary Art in Slovenia and its Avant-Garde Sources 1. The Theoretical and Contextual Frame 1.1 An Introduction to the Politics of Aesthetics in Contemporary Art Our study of the meaning of the connections between avant-garde art and pol- itics for contemporary artistic practices presumes the synthesis of theoretical discoveries regarding the avant-garde deconstruction of the modernist work of art and the institution of art (Peter Bürger’s theory of the avant-garde1) with contemporary findings in studies of the avant-garde.2 These discoveries are then linked to the key international avant-garde movements of the 20th century, including Slovenian art, and to the further reconciliation of art and the social sphere in contemporary participatory practices. We shed additional light on the avant-garde impulses for the reciprocal articu- lation of aesthetics and politics by linking them with the Jacques Rancière phi- losophy when we delve into the key undertaking of contemporary aesthetics, which is for us to theoretically explain contemporary sentience. Above all, we are interested in the social destiny of the sensuous as shown in the contem- porary critical and socially engaged art context, which can be perceived as a specific politics of aesthetics. According to Rancière, aesthetics is linked to a special mode of experience of or thinking about art that he calls an aesthetic regime. The aesthetic regime is characterized by an internal relation between 133 aesthetics and politics that unveils to us—as does politics—“what is common to 1 Cf.