DOCSLIB.ORG

Why Matter Matters Roscopic Level in the Oblivion of the Canon (People Don’ T Understand an Annunciation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Why Matter Matters Roscopic Level in the Oblivion of the Canon (People Don’ T Understand an Annunciation 4! ARTICLES Why Matter Matters roscopic level in the oblivion of the canon (people don’ t understand an annunciation or a flight into Egypt because they do not Maurizio Ferraris know what they are). I would add that the Università di Torino main client of art has changed, as it is no (Italia) longer the Church but the government: art- ists now have to simulate social interests just as they had to simulate religious interests in 1. Work of Aura the past. And the public does no longer go see art in the church, but at exhibitions, ow do you picture your funeral? pushed by the media and advertisements. As If you think you’ ll opt for a civil a result, the only occasions in which there is ceremony, then you know there talk of sacred art is when it comes to provo- H will be relatively improvised cations, such as Piss Christ by Serrano, Kip- speeches and applauses: the impromptu is penberger’ s crucified frog, or Cattelan’ s likely to prevail. There will be no structur- John Paul II crushed by a meteorite. ing ritual, no formal apparatus to make the To counter this trend, the Catholic pain bearable. And yet the same might hap- Church is now seeking to recover a relation- pen in a religious ceremony, if it were to ship with art that would not be subordinated mimic the civil rite and acquire its uncertain- or mimetic, by designing a Vatican pavilion ties and difficulties: imagine it took place in at the Venice Biennale or involving contem- an ugly church with poor ornaments, and porary artists in ancient churches (think of the speeches did not make use of a high reg- the altar by Parmeggiani in the cathedral of ister but of everyday language. The experi- Reggio Emilia, Kounellis’ bishop’ s chair or ment of the funeral is somewhat extreme the candlestick by Spalletti). The results are but, in the end, appropriate (as it affects eve- not obvious, because the difficulties of sa- ryone) to address the difficulties of sacred cred art are only the strongest symptom of art – currently confused with profane art, the difficulties of art in general – as authori- which is not in its golden age either. tative and even conservative commentators Why is it so? Camille Paglia, in Glittering have recently pointed out, see Marc Fuma- Images: A Journey Through Art from Egypt to roli,2 Jean Clair3 and Roger Scruton.4 Art, in 1 Star Wars, speaks of a crisis of the spirit. fact, seems to be realizing Nietzsche’ s Gone are the days of the cathedrals, and re- prophecy about humanity after Copernicus: ligion is no longer the subject of art. Accord- ing to the author, this is manifested at a mac- !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2 Claire 2011. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 3 Fumaroli 2009. 1 Paglia 2012. 4 Scruton 2009. PHILOSOPHICAL READINGS ISSUE VI – NUMBER 2 – SUMMER 2014 ARTICLES 5! it is “rolling off toward the x”, without an of hyper-conceptuality. It is not true, as is end and without an orientation. always repeated following Benjamin, that in Now, it is easy to see that many sectors of the age of mechanical reproduction art has contemporary art are in crisis. It is even eas- lost the aura resulting from uniqueness. ier to see that the “return to religion” talked What has happened is exactly the opposite, about for the past twenty years has largely the artwork is now essentially a work of been a false alarm: it has not lead to any real aura, the result of a fully spiritual consecra- change of customs or beliefs, which remain tion by which any object is transformed into secular in all respects. However, I find it too artwork, museums are transformed into easy and simplistic to establish (as Paglia temples, visitors turn into pilgrims and peni- does) a direct relationship between a spiri- tents, and art dealers become merchants of tual crisis and an aesthetic crisis. There aura.6 surely is a relationship between the two but, Assuming that, if exposed in a favourable if anything, it is the reverse of what the location and with the appropriate ritual, any- author posits: the hyper-spiritualization of thing can become a work of art, means plac- art, become conceptual, is what has caused ing transubstantiation within artistic produc- the aesthetic crisis. This phenomenon was tion: the artist consecrates any object, trans- described very well by Hegel: while ancient forming it into an artwork, through reading classical art develops an “aesthetic religion” a devotional text written by an art-critic. So characterized by a strict correspondence be- it is true that there is no more sacred art tween form and content, in modern romantic (with sacred subjects) and that we no longer art content (the spirit, the concept) prevails know how to build beautiful churches. But over form. Christ on the cross is not nice to in new and often beautiful cathedrals – mu- look at, what matters is the spiritual signifi- seums – we are engaging in a perpetual ado- cance of the scene: here, in this extreme con- ration. If this is the case, then, art is not ceptualism, we have the most powerful ante- dead, but more alive than ever, and indeed it cedent of Duchamp. has taken the place of religion. All romantic art – as well as its heirs, the One can always object to this interpreta- avant-garde, which not coincidentally tion that “conceptual” is not equivalent to mainly took place in the Christian world (to “spiritual,” that the spirit may be mystery my knowledge there are no Islamic, Jewish, and revelation, while the concept is trans- Confucian, Taoist, or Hindu avant-gardes) parency, clarity, and often a futile game. It – develops this hyper-spiritual vocation. might also be objected that the aura of con- The claim made by contemporary visual art ceptual works is an aura of plastic. Sure, but that beauty is not at its centre5 is a statement the problem is that in order to restore the !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5 Benjamin 1968. 6 Dal Lago – Giordano 2006. ISSUE VI – NUMBER 1 – SPRING 2014 PHILOSOPHICAL READINGS 6! ARTICLES myth – perhaps to create a “new mythol- the couple “law and art”,7 we will notice that ogy” as the romantics dreamed two centu- the former is not extrinsic to the latter (un- ries ago – the will to do so isn’ t enough. Af- like what would happen if, say, we tried to ter all, the whole story is already written in explain artworks through their authors’ pa- War and Peace: at the eve of the battle of thologies according to the couple “psychia- Borodino, Napoleon, the bourgeois and En- try and art.”) lightened emperor, contemplates the picture For the past century conceptual art has, in of his son, the King of Rome. His opponent, fact, been contractual: it deals with the eco- Kutusov, kneels in front of the icons. The nomic data (the world of art is above all the outcome of the battle is uncertain, while that art market) and seeks to broaden the defini- of the war will be disastrous for Napoleon. tion of art, renegotiating the implicit con- But in the long run, in the two centuries that tract between buyer, author and user to the separate us from Borodino, Napoleon’ s point of essentially becoming a contract it- principles have had the upper hand. We are self. In fact, the only concept used by con- now more able to see the limits of those ceptual-contractual art is, after all, the law of principles, in art, economy and politics, as art, the canonical idea that an artwork is a well as in our own lives. But we are also physical thing, made by an author and en- aware (or at least this is my steadfast belief) dowed with an attractive appearance. There- that spirituality and the divine are bound to a fore, it is necessary to contradict the canons, power we have to acknowledge, but with move around them, expand them, remove which we can not reconcile if not in an illu- them, and all this, rather perversely, happens sory form, sacrificing the values, merits and through a tool that is traditionally associated pains of modernity. with the canon and legality: the contract. The powers of the contract are great, as it has a performative dimension and allows one 2. Contractual Art to do things with words, as suggested by the English philosopher John L. Austin,8 the t is important to define the meaning of theoretician of speech acts, who noted that “concept” in the phrase “conceptual the words “I do” at a wedding do not merely art.” In what sense is Duchamp’ s bottle describe a ceremony, but produce two new I rack more conceptual than the School social objects, a husband and a wife. The of Athens by Raphael, who manages to em- same thing systematically happens with body in the single gesture of Aristotle’ s documents, which allow one to certify, half-raised hand the via media character of document, archive, name, and so forth ac- ethical virtues? In hindsight, the notion of conceptual art is a legal concept: if we take !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7 See Donati 2012, Ajani-Donati (eds), 2011. 8 Austin 1962. PHILOSOPHICAL READINGS ISSUE VI – NUMBER 2 – SUMMER 2014 ARTICLES 7! cording to a dual mode which I believe can ”Empty Artist,” an exhibition without be traced back to the following: “weak works, in which the user was issued a con- document” (record of a fact) and “strong tract for the sale of a “zone of immaterial document” (inscription of an act).
Load more

Recommended publications
  • Digital Collections at the University of the Arts
    The UniversiT y of The ArTs Non Profit Org 320 South Broad Street US Postage Philadelphia, PA 19102 PAID www.UArts.edu Philadelphia, PA Permit No. 1103 THE MAGAZINE OF The UniversiT y of The ArTs edg e THE edge MAGAZINE OF T he U niver si T y of T he A r T s WINTER WINTER 2013 2013 NO . 9 Edge9_Cover_FINAL.crw4.indd 1 1/22/13 12:50 PM THE from PRESIDENT A decade has passed since the publication In this issue of Edge, we examine the book’s of Richard Florida’s international bestseller theses and arguments a decade on, and The Rise of the Creative Class. This 10-year speak with a range of experts both on and of anniversary provides an opportunity to ex- the creative class, including Richard Florida amine the impact of that seminal work and himself. I think you will find their insights the accuracy of its predictions, some of them and perspectives quite interesting. bold. The book’s subtitle—“...And How It’s Transforming Work, Leisure, Community, Following on the theme of the power of and Everyday Life”—speaks to the profes- creatives, we also look at the creative econ- sor and urban-studies specialist’s vision of omy of the Philadelphia region and the far- the impact this creative sector can exert on reaching impact that University of the Arts virtually all aspects of our lives. alumni and faculty have on it. You will also find features on UArts students, alumni and Since its 2002 release, many of the ap- faculty who are forging innovative entrepre- proaches to urban regeneration proposed neurial paths of their own.
    [Show full text]
  • Worldview Breakfast
    The Fordham Center On Religion and Culture www.fordham.edu/ReligCulture FORDHAM CENTER ON RELIGION AND CULTURE Taking Offense: When Art and the Sacred Collide April 25, 2012 Fordham University | Lincoln Center Campus Pope Auditorium | 113 West 60th Street Moderator Matthew Maguire Director, Fordham Theatre Program Panelists Camille Paglia University Professor of Humanities and Media Studies University of the Arts, Philadelphia Dana Gioia Former Director, National Endowment for the Arts Judge Widney Professor of Poetry and Public Culture, University of Southern California PETER STEINFELS: Greetings and good evening. Welcome to “Taking Offense: When Art and the Sacred Collide,” a forum organized by the Fordham Center on Religion and Culture. I am Peter Steinfels, one of the Co-directors of the Center, along with Margaret O’Brien Steinfels and Jim McCartin. All of us have worked together, along with our Program Manager, Patricia Bellucci, to organize this evening’s exceptional program, with two exceptional speakers, Camille Paglia and Dana Gioia. The igniting spark for this event really began when a reporter from The Washington Post called me in 2010 asking for a comment on the removal of David Wojnarowicz’s video Fire in My Belly from an exhibit at the National Portrait Gallery. The struggle to formulate some kind of intelligent sound bite in response to his request — and that may itself be an oxymoron — underlined for me a sad fact about these controversies over disturbing artistic treatments of religious imagery or of topics that are deeply, in some sense, sacred to people, to their identities or to their histories: Namely, these controversies are mired in clichés, in stale, reflexive, and often self-righteous reactions.
    [Show full text]
  • Do the Most Important Artists Make the Most Expensive Paintings?
    WORKING PAPER · NO. 2018-73 Do the Most Important Artists Make the Most Expensive Paintings? David W. Galenson OCTOBER 2018 1126 E. 59th St, Chicago, IL 60637 Main: 773.702.5599 bfi.uchicago.edu Do the Most Important Artists Make the Most Expensive Paintings? David W. Galenson University of Chicago Universidad del CEMA Abstract Art experts have disagreed about whether art markets accurately reflect artistic importance. This paper uses published surveys of art history to construct a critical ranking of the 30 most important American painters of the last century, then uses auction records to identify the most expensive paintings by these artists. The results show a strong positive association between critical rankings and auction prices: there is a high rank correlation between the critical ranking of artists and a ranking of the artists by their single highest auction price, and the top artists in the critical ranking are highly disproportionately represented among auction sales over $10 million, $30 million, and $50 million. Auction markets do recognize artistic importance: the greatest artists produce the most expensive paintings, and it is their most important works that sell for the highest prices. 1 Art Markets Many experts contend that art markets defy systematic logic. So for example Robert Hughes of Time magazine declared that “The price of a work of art is an index of pure, irrational desire,” and Tobias Meyer, Sotheby’s chief auctioneer, described auctions as “magical.”1 Some experts have specifically denied any connection between artistic importance and market outcomes. Thus Richard Benson, dean of the Yale School of Art, told the New York Times that “We don’t consider success in the marketplace has anything to do with being a successful artist,” and Robert Storr, a curator at New York’s Museum of Modern Art, asserted that artistic success “is completely unquantifiable.”2 Other art experts have disagreed.
    [Show full text]
  • The Oxford History of World Cinema EDITED by GEOFFREY NOWELL-SMITH
    The Oxford History of World Cinema EDITED BY GEOFFREY NOWELL-SMITH OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries Published in the United States by Oxford University Press Inc., New York © Oxford University Press 1996 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 1996 First published in paperback 1997 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available ISBN 0-19-811257-2 ISBN 0-19-874242-8 (Pbk.) 7 9 10 8 6 Printed in Great Britain on acid-free paper by Butler & Tanner Ltd Frome and London I should like to dedicate this book to the memory of my father, who did not live to see it finished, and to my children, for their enjoyment.
    [Show full text]
  • Glittering Images: a Journey Through Art from Egypt to Star Wars Free
    FREE GLITTERING IMAGES: A JOURNEY THROUGH ART FROM EGYPT TO STAR WARS PDF Camille Paglia | 202 pages | 16 Oct 2012 | Random House USA Inc | 9780375424601 | English | New York, United States Glittering Images: A Journey Through Art from Egypt to Star Wars - Camille Paglia - Google книги Written with energy, erudition, and wit, Glittering Images is destined to change the way we think about our high-tech visual environment. A problem with discussing art in books or textbooks is that reproduced images never do the real thing justice. It's even worse when they're reproduced in black and white. My copy of "Glittering Images" is the paperback format, and it's very good quality with color plates for each piece discussed, although if you want to study in detail, it'd be best to find the images online where you'd be able to zoom in and out. However, it is much appreciated that Paglia and the publisher produced a quality edition in paperback this book originally came out in hardback. The introduction is thought-provoking, and it is one I wish everyone who has any kind of interest in the arts would read. Paglia states: "Members of the art world and residents of metropolitan regions with major museums suffer from a tragic complacency about the current status and prestige of art. The fine arts are shrinking and receding everywhere in the world. Video games, digitally animated movies, and televised sports have far more energy and variety as well as manifest impact on younger generations. The arts are fighting a rearguard action, their very survival at stake.
    [Show full text]
  • Rebel with a Cause Interview with Camille Paglia
    Rebel With a Cause Interview with Camille Paglia by Alessandro Mercuri On the release of her new book on art history entitled "Glittering Images: A Journey Through Art from Egypt to Star Wars" (Random House, 2012), American author and social critic Camille Paglia has been interviewed by ParisLike about her intellectual journey, her views on free thought, activism and her critical approach to dogmatism. Alessandro Mercuri: You often refer to your Italian heritage and to the pagan dimension of the Roman Catholic Church. From the Renaissance to the age of the Baroque, the representation shifted from iconic Christian art to the painting of Greek myths and metamorphosis. This artistic revolution, in which Jesus and Dionysus coexist or like Bernini's Ecstasy of Saint Teresa, seems important to your vision. It's almost as if postmodern visual issues dated back from the Renaissance. How do you relate this artistic period to your interest in our modern mass media culture? 1 Camille Paglia: The principal over-arching idea of my work is that Western culture has been formed by a long, irresolvable conflict between ancient paganism and Judeo-Christianity. I state in my first book, Sexual Personae, that it is a historical error to claim that Christianity defeated paganism at the start of the Middle Ages. No, paganism went underground and erupted, in my view, at three key moments: the Renaissance (a revival of Greco-Roman humanism and aesthetics); Romanticism (a return of Dionysian nature- worship with its emotionalism and its primal sexuality verging on the barbaric); and modern popular culture (Hollywood as a restoration of the pagan pantheon of physically perfect, openly sexual gods and goddesses).
    [Show full text]
  • Walking in Late Capitalism Dialectic of Aestheticization and Commodification
    Walking in Late Capitalism Dialectic of Aestheticization and Commodification Anja Hälg Bieri Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In the School of Public and International Affairs College of Architecture and Urban Studies Paul L. Knox Brian M. Britt Sonia A. Hirt Simone W. Paterson 23 October 2015 Blacksburg, VA Keywords: Walkable urbanism, walking as art, aestheticization, audio-walks Copyright © 2015 by Anja Hälg Bieri 0 Walking in Late Capitalism Dialectic of Aestheticization and Commodification Anja Hälg Bieri Abstract Walking has become a trend in the USA. In recent years, the desire to walk has brought forth specific urban design for walkable places as well as art forms that focus on walking. Whence this trend? This dissertation studies the socio-economic and cultural context that brought forth the aestheticized forms of walking such as walking in designed walkable places and walking as art. The theoretical framework to study this genealogy is based in social anthropology, critical theory, theatre studies and the practice of audio-walks. A ‘dialectic of aestheticization and commodification’ runs through modernity that generates aestheticized forms of walking today. While walking is initially a form of aesthetic struggle against the rational principles of modernity and the forces of capitalism, this struggle is co-opted by the logic of capital in a continuous interlacing of the processes of aestheticization and commodification. The social and spatial consequences of capitalism together with the process of aestheticization of society produce new spatial forms of capitalism, new commodified forms of social interaction, and new forms of walking.
    [Show full text]
  • Artdesk Issue
    ISSUE CONTEMPORARY A RTS, PERFORMANC E, AND THOUGHT USD START HERE 3 DASHES BITTERS 1 WATER 1 SUGAR CUBE 3 BOURBON WHISKEY 1 SLICE ORANGE 1 MARASCHINO CHERRY FROM THE ART DESK Art of Our Time PORTFOLIO In Full Bloom THE NECESSITIES E XHIBITION The Quanti ed Self BRIDGE Marfa Man P ROFILE Other Dimensions PHOTOGRAP HY Edward Burtynsky STUDIO Valerie McDonald with Larry Keigwin RETROSP ECTIVE Jim Hodges AN OUTLIER Rescue Dogs RECEN TLY C OLOP HON AT WORK Ed Ruscha MAN IFESTO BC LETTER Marfa, Texas (2013) photograph by ARTDESK ART OF OUR TIME Welcome to ArtDesk. Whether you are a subscriber to this new magazine, were given a complimentary copy, or just stumbled upon it, I hope you will nd our features about contemporary art, performance, and thought to be interesting, fun, and enlightening. Each year, our two issues will celebrate the people, trends, and happenings in contemporary art, which we dene as the art of our time created by living artists. ArtDesk’s main purpose is to be a support publication for three intertwined organizations: Oklahoma Contemporary Arts Center in Oklahoma City (formerly City Arts Center); Marfa Contemporary in Marfa, Texas; and Green Box Arts Festival in Green Mountain Falls, Colorado. These community arts organizations provide education, exhibition, and programming -days-a-year, / at a grass-roots level. We at ArtDesk believe in strong regional arts programming. We liken it to the farming system in baseball. Simply said, you can’t have great art in the art capitals if there isn’t great arts education in the regions.
    [Show full text]
  • Language, Counter-Memory, Practice
    MICHEL FOUCAULT LANGUAGE, COUNTER-MEMORY, PRACTICE Selected Essays and Interviews Edited with an Introduction by DONALD F. BOUCHARD Trandated from the French by DONALD F. BOUCHARD and SHERRY SIMON Cornell University Press ^ITHACA, ^NEW YOBK Copyright © 1977 by Cornell University Al rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the pub­ lisher. For information address CorneH University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 1977 by Cornell University Press. Second printing 1980. First printing, ComeU Paperbacks, 1980. Eighth printing 1996. Printed in the United States of America Library of Congress Cataloging in Publication Data (For library cataloging purposes only) Foucault, Michel. Language, counter-memory, practice. Includes bibliographical references and index. CONTENTS: ^Language and the birth of“literature.” A preface to transgresrion. Language to infinity. The father's "no." Fantasia of the library. [etc.J 1. Languages—Philosophy—Collected works. 2. Literature—Philosophy— Collected works. 3. Difference (Philosophy)—Collected works. I. Title. P106.F67 401 77-4561 ISBN 0-8014-0979-9 (cloth) ISBN 0-8014-9204-1 (pbk.) @The paper in this book meets the minimum requirements of the American Na­ tional Standard for Information Sciences—Permanence of Paper for Printed Li­ brary Materials, ANSI Z39.48-1984. Thought is no longer theoretical. As soon as it functions it offends or r^econciles, attracts or repels, breaks, dissociates, unites or re­ unites; it c^mot help but liberate and enslave. Even before prescribing, suggesting a future, saying what murt be done, even before exho^bg or merely sounding an al^m, thought, at the level of its ^exisence, in its very da^wning, is in itseH an action— a perilous act.
    [Show full text]
  • Interacting with Horror: Archaeology of the Italian Horror Genre from Its Origins Until the Eighties
    Durham E-Theses Interacting with Horror: Archaeology of the Italian Horror Genre from its Origins until the Eighties. Riccardo Freda, Mario Bava and Dario Argento CONTI, GIANPIERA How to cite: CONTI, GIANPIERA (2015) Interacting with Horror: Archaeology of the Italian Horror Genre from its Origins until the Eighties. Riccardo Freda, Mario Bava and Dario Argento, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11016/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Interacting with Horror: Archaeology of the Italian Horror Genre from its Origins until the Eighties. Riccardo Freda, Mario Bava and Dario Argento Gianpiera Conti Thesis submitted for the Degree of Doctor of Philosophy School of Modern Languages and Cultures 2014 1 Interacting with Horror: Archaeology of the Italian Horror Genre from its Origins until the Eighties. Riccardo Freda, Mario Bava and Dario Argento ABSTRACT This research examines Italian horror cinema from its origins (1957) until the late 1980s, with particular focus on the productions of three Italian directors: Riccardo Freda, Mario Bava and Dario Argento.
    [Show full text]
  • I. Brief Program Overview Description of Program the Department of Art At
    DEPARTMENT OF ART SELF STUDY SECTION ONE - PROGRAM BACKGROUND AND OVERVIEW I. Brief Program Overview Description of Program The Department of Art at Columbus State University offers the following degrees in art: Bachelor of Arts in Art History (BA), Bachelor of Science in Art Education (BSEd), Bachelor of Fine Arts (BFA), Master of Art in Teaching (MAT) and Master of Art Education (MEd). The department offers two minors: Studio Art and Art History. These degrees are delivered in an environment supported by twelve full time faculty, two full time staff, part-time faculty and staff employed as needed, state of the art facilities, strong community partners and events, closely linked regional, national and international exhibitions, study abroad opportunities, other professional opportunities and innovative visiting artists and scholars programming. The Department of Art was begun in 1983 on the Main campus, offering a BA in Art. The BSEd degree was first offered in 1990. The MEd was first offered in 1995. The BFA was first offered as a major in 1995, and the BA deactivated in 1998. The Department moved to facilities better matching the needs of our educational program at the RiverPark Campus in 2006, where we became a part of the new College of the Arts in 2009 and began offering the MAT. The BA in Art History was first offered in 2012. Each fall semester of the evaluation period the department generated an average of 1,921 student credit hours, of which approximately half were generated in the Core. The curriculum is supported by our outreach programming and fundraising.
    [Show full text]
  • ARTH 101—002 Tth 1:30-2:45 Exam 2 Fa
    ARTH 101-001: INTRODUCTION TO THE VISUAL ARTS Spring 2017 Professor Lisa Passaglia Bauman E-mail: [email protected] Class times: MW 10:30-11:45 Classroom: Robinson B113 Office hours: W12:00-1:00, Thursday 1:30-2:30, or by appt Office: Robinson B 373A THE PROMISES OF THIS COURSE: It is my opinion that this is one of the most important classes you will take in college. Yes, it fulfills the University General Education requirement, but, assuming we both do our jobs correctly, it is also the class that you will take with you every time you walk into an art museum, or travel around the world, or take your children down on the Mall. It is not a studio class although we will study different media and techniques; nor is it a survey class although works of art will be presented in their historical context. Rather this class will focus on how art communicates, how to analyze and interpret it, and how we can see it as a cultural product that reveals something about the society that produced it. By the end of the semester, you will have been exposed to many works of art, various media, and a great deal of new vocabulary. You will also have learned some of the fundamentals of looking at works of art. You will know that interpretation of a work depends on the interpreter, and that you, too, are necessarily an interpreter. That is not to say that all interpretations are equally valid; interpretations can be well- or ill-formed, responsible or irresponsible, useful or useless, etc.; opinion is not interpretation.
    [Show full text]