Inside January/February 2018 Volume 17, Number 1
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Andy Woortman, 2015 Index 1. at the End of Art Everyone
ANDY WOORTMAN, 2015 INDEX 1. AT THE END OF ART EVERYONE IS AN ARTIST……page 4 2a. ATTITUDE AS METHOD – a business model……page 6 2b. NOT AN ARTIST / NOT MAKING ART……page 8 2c. CHOOSING NOT TO CHOOSE……page 9 2d. NON ARTISTS VS. PUBLIC OPINION……page 10 3. CONCLUSION……page 13 4. APPENDIX Transcript and stills from the video HOW TO BECOME A NON ARTIST by Ane Hjort Guttu, 2007……page 14 BIBLIOGRAPHY……page 27 1 “Art or the artist is per definition pretentious. It pretends to be something else than what it appears to be. So literally that means it’s pretentious.” In conversation with a friend about my thesis, Barcelona, 2014 INTRODUCTION The first time I saw Martin Creed was in a Youtube video of a lecture that he gave in the Camberwell College of Arts in 2014. He seemed to me someone who just does things randomly; not really knowing why and what for. Creed, for example, stated not having the intention or ambition of making art. While I was watching this video, I opened a second tab and found his profile on Wikipedia. I found an impressive list of past shows and won prizes, amongst which the Turner prize in 2001. As I was reading, I started to doubt my first impression. The image of a man who seemed unsure, insecure and doubtful started to turn into a well-considered concept: an artist that deliberately chooses not to choose. I stumbled upon the following in The Guardian: Creed makes me think of a really sociable philosopher. -
Shanghai at the Asian Art Museum Discipline: Visual Art
I EDUCATOR GUIDE Subject: Shanghai at the Asian Art Museum Discipline: Visual Art SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEB SITES VIDEO RESOURCES BAY AREA FIELD TRIPS SECTION III – VOCABULARY.............................................................................................................6 SECTION IV – ENGAGING WITH SPARK .........................................................................................7 Vestiges of a Process: Shanghai Garden, by Zhang Jianjun. Still image from the SPARK story, 2010. SPARK Educator Guide – Shanghai at The Asian Art Museum 1 SECTION I - OVERVIEW SUBJECT • Hands‐on individual projects in which students Shanghai exhibition at The Asian Art Museum work independently • Hands‐on group projects in which students GRADE RANGES assist and support one another 6‐12 & Post‐secondary • Critical reflection on personal expressions and how they are seen and received by others CURRICULUM CONNECTIONS INSTRUCTIONAL OBJECTIVES Visual Arts & Language Arts • To introduce students to historical and OBJECTIVE contemporary artwork from Shanghai -
2019 Year Book.Pdf
2019 Contents Preface / P_05> Overview / P_07> SICA Profile / P_15> Cultural Performances and Exhibitions, 2019 / P_19> Foreign Exchange, 2019 / P_45> Academic Conferences, 2019 / P_67> Summary of Cultural Exchanges and Visits, 2019 / P_77> 「Offerings at the First Day of Year」(detail) by YANG Zhengxin Sea Breeze: Exhibition of Shanghai-Style Calligraphy and Painting Preface This year marks the 70th anniversary of the founding of the People’s Republic of China. Over the past 70 years, the Chinese culture has forged ahead regardless of trials and hardships. In the course of its inheritance and development, the Chinese culture has stepped onto the world stage and found her way under spotlight. The SICA, established in the golden age of reform and opening-up, has been adhering to its mission of “strengthening mutual understanding and friendly cooperation between Shanghai and other countries or regions through international cultural exchanges in various areas, so as to promote the economic development, scientific progress and cultural prosperity of the city” for more than 30 years. It has been exploring new modes of international exchange and has been actively engaging in a variety of international culture exchanges on different levels in broad fields. On behalf of the entire staff of the SICA, I hereby would like to extend our sincere gratitude for the concern and support offered by various levels of government departments, Council members of the SICA, partner agencies and cultural institutions, people from all circles of life, and friends from both home and abroad. To sum up our work in the year 2019, we share in this booklet a collection of illustrated reports on the programs in which we have been involved in the past year. -
Shock Value: the COLLECTOR AS PROVOCATEUR?
Shock Value: THE COLLECTOR AS PROVOCATEUR? BY REENA JANA SHOCK VALUE: enough to prompt San Francisco Chronicle art critic Kenneth Baker to state, “I THE COLLECTOR AS PROVOCATEUR? don’t know another private collection as heavy on ‘shock art’ as Logan’s is.” When asked why his tastes veer toward the blatantly gory or overtly sexual, Logan doesn’t attempt to deny that he’s interested in shock art. But he does use predictably general terms to “defend” his collection, as if aware that such a collecting strategy may need a defense. “I have always sought out art that faces contemporary issues,” he says. “The nature of contemporary art is that it isn’t necessarily pretty.” In other words, collecting habits like Logan’s reflect the old idea of le bourgeoisie needing a little épatement. Logan likes to draw a line between his tastes and what he believes are those of the status quo. “The majority of people in general like to see pretty things when they think of what art should be. But I believe there is a better dialogue when work is unpretty,” he says. “To my mind, art doesn’t fulfill its function unless there’s ent Logan is burly, clean-cut a dialogue started.” 82 and grey-haired—the farthestK thing you could imagine from a gold-chain- Indeed, if shock art can be defined, it’s art that produces a visceral, 83 wearing sleazeball or a death-obsessed goth. In fact, the 57-year-old usually often unpleasant, reaction, a reaction that prompts people to talk, even if at sports a preppy coat and tie. -
Art, Tapu and Shared Space in Contemporary Aotearoa New Zealand
So It Vanished: Art, Tapu and Shared Space in Contemporary Aotearoa New Zealand Jonathan Barrett, Open Polytechnic, New Zealand In February 2012, The Dowse Art Museum (‘The Dowse’) in Lower Hutt, New Zealand cancelled an exhibition by internationally renowned Mexican artist Teresa Margolles on the ostensible grounds of culture offence. This article analyses the cancellation of Margolles’s So It Vanishes and situates it in the context of previous conflicts between Indigenous beliefs and exhibitions of transgressive art. Background information is firstly provided and Margolles’s work is sketched and compared with other taboo- breaking works of transgressive art. The Māori concept of tapu is then outlined.1 A discussion follows on the incompatibility of So It Vanishes with tapu, along with a review of other New Zealand exhibitions that have proved inconsistent with Indigenous values. Conclusions are then drawn about sharing exhibition space in contemporary Aotearoa NewZealand. Background The Dowse The Dowse is situated in Lower Hutt,2 which has traditionally been a dormitory suburb for Wellington, but today is technically a city with an increasingly cosmopolitan population. In 2006, more than one fifth of residents were born outside New Zealand 1 In this article, the words ‘taboo,’ ‘tabu’ and ‘tapu’ refer to Polynesian beliefs. Taboo, in roman font, refers to the Western adoption of the concept. The distinction lies between (literal) taboo and (figurative) taboo, the first and second definitions of ‘taboo’ provided in the Oxford English Dictionary (see Simpson & Weiner 1989: 521). 2 The Lower Hutt council has adopted the name ‘Hutt City,’ but this self-designation is not recognized by either the New Zealand Geographical Board or central government in the Local Government Act 2002. -
Proceedings of the European Society for Aesthetics Volume 6, 2014
Proceedings of the European Society for Aesthetics Volume 6, 2014 Edited by Fabian Dorsch and Dan-Eugen Ratiu Published by the European Society for Aesthetics esa Proceedings of the European Society of Aesthetics Founded in 2009 by Fabian Dorsch Internet: http://proceedings.eurosa.org Email: [email protected] ISSN: 1664 – 5278 Editors Fabian Dorsch (University of Fribourg) Dan-Eugen Ratiu (Babes-Bolyai University of Cluj-Napoca) Editorial Board Zsolt Bátori (Budapest University of Technology and Economics) Alessandro Bertinetto (University of Udine) Matilde Carrasco Barranco (University of Murcia) Josef Früchtl (University of Amsterdam) Robert Hopkins (University of Sheffield & New York University) Catrin Misselhorn (University of Stuttgart) Kalle Puolakka (University of Helsinki) Isabelle Rieusset-Lemarié (University of Paris 1 Panthéon-Sorbonne) John Zeimbekis (University of Patras) Publisher The European Society for Aesthetics Department of Philosophy University of Fribourg Avenue de l'Europe 20 1700 Fribourg Switzerland Internet: http://www.eurosa.org Email: [email protected] Proceedings of the European Society for Aesthetics Volume 6, 2014 Edited by Fabian Dorsch and Dan-Eugen Ratiu Table of Contents Christian G. Allesch An Early Concept of ‘Psychological Aesthetics’ in the ‘Age of Aesthetics’ 1-12 Martine Berenpas The Monstrous Nature of Art — Levinas on Art, Time and Irresponsibility 13-23 Alicia Bermejo Salar Is Moderate Intentionalism Necessary? 24-36 Nuno Crespo Forgetting Architecture — Investigations into the Poetic Experience of Architecture 37-51 Alexandre Declos The Aesthetic and Cognitive Value of Surprise 52-69 Thomas Dworschak What We Do When We Ask What Music Is 70-82 Clodagh Emoe Inaesthetics — Re-configuring Aesthetics for Contemporary Art 83-113 Noel Fitzpatrick Symbolic Misery and Aesthetics — Bernard Stiegler 114-128 iii Proceedings of the European Society for Aesthetics, vol. -
Shanghai, China Overview Introduction
Shanghai, China Overview Introduction The name Shanghai still conjures images of romance, mystery and adventure, but for decades it was an austere backwater. After the success of Mao Zedong's communist revolution in 1949, the authorities clamped down hard on Shanghai, castigating China's second city for its prewar status as a playground of gangsters and colonial adventurers. And so it was. In its heyday, the 1920s and '30s, cosmopolitan Shanghai was a dynamic melting pot for people, ideas and money from all over the planet. Business boomed, fortunes were made, and everything seemed possible. It was a time of breakneck industrial progress, swaggering confidence and smoky jazz venues. Thanks to economic reforms implemented in the 1980s by Deng Xiaoping, Shanghai's commercial potential has reemerged and is flourishing again. Stand today on the historic Bund and look across the Huangpu River. The soaring 1,614-ft/492-m Shanghai World Financial Center tower looms over the ambitious skyline of the Pudong financial district. Alongside it are other key landmarks: the glittering, 88- story Jinmao Building; the rocket-shaped Oriental Pearl TV Tower; and the Shanghai Stock Exchange. The 128-story Shanghai Tower is the tallest building in China (and, after the Burj Khalifa in Dubai, the second-tallest in the world). Glass-and-steel skyscrapers reach for the clouds, Mercedes sedans cruise the neon-lit streets, luxury- brand boutiques stock all the stylish trappings available in New York, and the restaurant, bar and clubbing scene pulsates with an energy all its own. Perhaps more than any other city in Asia, Shanghai has the confidence and sheer determination to forge a glittering future as one of the world's most important commercial centers. -
Exploding-Goat.Pdf
FINE, PROBATION FOR SHOCK ARTIST 2 SHOCK ARTISTS ARRAIGNED IN ROXBURY 3 COLEMAN FACES CHARGES ON EXPLOSIVES 4 WHEN SHOCK ART GOES TOO FAR FEAR AND LOATHING IN THE AUDIENCE 5 OFFICIALS, AUDIENCE, BF/VF REACT AS THE SMOKE CLEARS 7 AUDIENCE FLEES EXPLOSIVE PERFORMANCE 9 FINE, PROBATION FOR SHOCK ARTIST ARTS AND FILM FINE, PROBATION FOR SHOCK ARTIST Jim Sullivan, Globe Staff 266 words 16 February 1990 The Boston Globe THIRD 94 English © 1990 New York Times Company. Provided by ProQuest Information and Learning. All Rights Reserved. Joe Coleman , the controversial New York-based "shock artist" who performed at the Boston Film/Video Foundation Oct. 29, pleaded guilty yesterday in Roxbury District Court to possession of fireworks and cruelty to animals. He paid a total of $662 in fines and was put on probation for one year. The charge of possession of an inferno machine was dismissed by the Commonwealth. A count of burning of a dwelling was dismissed by the judge, according to Asst. District Attorney Robert Benson, because he saw no "willful or malicious intent." Coleman's wife, Nancy, a co-defendent in the case is in the hospital and could not appear, her attorney said. Her case will be heard June 15. Coleman's act, which is captured on the "Mondo New York" videotape, consisted, in part, of detonating explosives attached to his chest and biting the heads off mice. "The judge said he cannot come into Massachusetts and perform anything related to animals," said Benson. "My understanding was he's not going to perform any 'shock art' in Massachusetts anymore." Asked about Coleman's demeanor, Benson said, "He was very subdued and respectable toward the judge, very humble. -
What Defines a Good Work of Art Within the Contemporary Art World? Theories, Practices and Institutions
WHAT DEFINES A GOOD WORK OF ART WITHIN THE CONTEMPORARY ART WORLD? THEORIES, PRACTICES AND INSTITUTIONS by DELIA VEKONY-HARPER submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ART HISTORY at the UNIVERSITY OF SOUTH AFRICA Supervisor: Dr EL Basson June 2010 I declare that ‘What defines a good work of art within the contemporary art world? Theories, practices and institutions’ is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. Delia Vekony 11/03/2010 What defines a good work of art within the contemporary art world? Theories, practices and institutions By Ms Delia Vekony-Harper Master of Arts Art history Supervisor: Dr EL Basson June 2010 SUMMARY The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse- dependent concept, all art professionals seek something that is an inherent quality of the artwork. -
Interpreting Art : Reflecting, Wondering, and Responding
E>»isa S' oc 3 Interpreting Art Interpreting Art Reflecting, Wondering, and Responding Terry Barrett The Ohio State University Boston Burr Ridge, IL Dubuque, IA Madison, Wl New York San Francisco St. Louis Bangkok Bogota Caracas Kuala Lumpur Lisbon London Madrid Mexico City Milan Montreal New Delhi Santiago Seoul Singapore Sydney Taipei Toronto McGraw-Hill Higher Education gg A Division of The McGraw-Hill Companies Interpreting Art: Reflecting, Wondering, and Responding Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright ® 2003 by The McGraw-Hill Companies, Inc. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw- Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. This book is printed on acid-free paper. 34567890 DOC/DOC 0 9 8 7 6 5 4 ISBN 0-7674-1648-1 Publisher: Chris Freitag Sponsoring editor: Joe Hanson Marketing manager: Lisa Berry Production editor: David Sutton Senior production supervisor: Richard DeVitto Designer: Sharon Spurlock Photo researcher: Brian Pecko Art editor: Emma Ghiselli Compositor: ProGraphics Typeface: 10/13 Berkeley Old Style Medium Paper: 45# New Era Matte Printer and binder: RR Donnelley & Sons Because this page cannot legibly accommodate all the copyright notices, page 249 constitutes an extension of the copyright page. LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Barrett, Terry Michael, 1945- Interpreting Art: reflecting, wondering, and responding / Terry Barrett, p. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMTPON FACULTY OF HUMANITIES Modern Languages Perceptions of Holocaust Memory: A Comparative study of Public Reactions to Art about the Holocaust at the Jewish Museum in New York and the Israel Museum in Jerusalem (1990s-2000s) by Diana I. Popescu Thesis for the degree of Doctor of Philosophy April 2012 UNIVERSITY OF SOUTHMAPTON ABSTRACT FACULTY OF HUMANITIES Modern Languages Doctor of Philosophy PERCEPTIONS OF HOLOCAUST MEMORY: A COMPARATIVE STUDY OF PUBLIC REACTIONS TO ART EXHIBITIONS ABOUT THE HOLOCAUST AT THE JEWISH MUSEUM IN NEW YORK AND THE ISRAEL MUSEUM IN JERUSALEM (1990s-2000s) by Diana I. Popescu This thesis investigates the changes in the Israeli and Jewish-American public perception of Holocaust memory in the late 1990s and early 2000s, and offers an elaborate comparative analysis of public reactions to art about the Holocaust. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction k dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversee materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 WU CHANGSHI AND THE SHANGHAI ART WORLD IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Kuiyi Shen, M.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor John C.