1. "The distinction between art and mass production was once sacrosanct...Duchamp added flexibility."I think like the drifting/growing English language, the language of art had an enormous growth spurt when addressing this issue that continues to challenge conventional notions of art.
Marcel Duchamp
2.What was happening after WWI (the stimmung of defeat/Weiner Republic) and were the Dadaists French/German?
Andy Warhol
3. Appropriation
Strictly speaking, this strategy involves the direct duplication, copying or incorporation of an image (painting, photograph, etc.) from an identified source by an artist who represents it in a different context, thus completely altering its meaning and questioning notions of originality and authenticity. Later, appropriation came to include the reinterpretation of images from fine art or mass media sources, and often the combining of various images derived from various sources. The purpose of appropriation could be a political statement, an ironic gesture, a straight-up homage, or the desire to strengthen the power and impact of a particular image through reinterpretation of it.
4. This mix-up between the symbol and the thing becomes even more evident when looking at photography redoubling itself:
Sherrie Levine
Jeff Koons
5. What determines if something is art? What determines if it is good art?
1. How much does religious upbringing/childhood teaching play into the work of many artists, consciously or not?
Interesting discussion re: Kandinsky’s “Concerning the Spiritual in Art” : art as its own religion/discipline: a replacement of dictated external or institutional religion with a subjective religion.
2. Are there opposing forces between Puritan/Calvinism teachings affecting society vs. Catholic dramatic sensibilities? Of course there are major differences between Easter and Western ways of thinking though to be aware of the spiritual in art or nature is not that common in Western society.
Alternate states of consciousness has often been the goal of art and religion.
3.Definition: Magical Thinking vs. Scientific Fact:
Magical thinking is a clinical term used to describe a wide variety of nonscientific and sometimes irrational beliefs. These beliefs are generally centered on correlations between events.
For example, a belief in the power of spells or rituals could be considered magical thinking. It is important to note that magical thinking must be considered in context. For example, a belief in the paranormal could be seen as magical thinking. However, many religious and cultural traditions believe in the existence of spirits, demons and other entities. A person from such a background should not be diagnosed with magical thinking based solely on a belief in such entities.
Shazia Sikander
Anish Kapoor
GLOBALISM
Marco Brambilla: Civilization
Chen Zhen
4. What is the difference between Globalism & Globalization?
Globalism is the belief that we share one fragile planet the survival of which requires mutual respect and careful treatment of the earth and of all its people. Globalism, like all values and ethical beliefs, requires active practice in our day-to-day lives. Communications to foster understanding, sharing of needed resources on the basis of equity and sustainability, and mutual aid in times of need are three central features of activities that undergird globalism.
Globalization is the process of corporations moving their money, factories and products around the planet at ever more rapid rates of speed in search of cheaper labor and raw materials and governments willing to ignore or abandon consumer, labor and environmental protection laws. As an ideology, it is largely unfettered by ethical or moral considerations.
Chen Zhen’s interview on Transexperiences was an insightful look into the discussions and debates of cross cultural experiences and conflicting consequences that may emerge out of a newly interconnected world. Chen explains that a “’Spiritual running-away’ is the most profound experience one can have in life. One should learn to break out of one’s own “cocoon” and be courageous enough to break away from one’s own self and to abandon one’s own cultural context…..[this is when] creative capacity has reached the most active zenith.” This “self-sought loneliness” via moving about and engaging with transexperiences reminds me a lot of Thoreau’s escape to Walden. I was also reminded of all our students’ experiences studying abroad and traveling—Chen’s words relate precisely to our own experiences being here in Shanghai and away from our safety zones, “our cocoons”. In this light, Chen encourages the movement of the art world to encompass artists’ experiences that include both the perspectives of home and away from home, both literally and figuratively. Chen also illustrates that “to immerse oneself in life, to blend and identify oneself with others” is a foundational concept of art, and transexperiences help us to recognize this. He goes on further to say “You have me in you, and I have you in me.”
5. Debate between Chomsky and Freidman: who is right?
I think they both are which indicates the pluralities, dichotomies and paradox of our times. That is where the crisis lies: a lack of understanding a future that is not based on any previous history as we move to be one world. It would seem space would be a new frontier but there is very little zeal or money.
1. What is the difference between “naked” and “nude?” Both words have their root in the Latin “nog.” I think this debate can be a question of semantics: “naked” can only be used as an adjective where “nude” can be both an adjective and a noun. Below is a painting of naked people or a painting of nudes.
Philip Pearlstein
The diverse connotations in the 21st century art are minimal where feminism has deconstructed the perpetual “male gaze” in art. I believe Michelangelo’s “David” is a nude : thus a depiction of an idealized form.
Michelangelo's "David"
Nakedness:
as a noun does not involve being human: (being without addition, concealment, disguise, or embellishment/ being exposed to harm.)
Nudity:
put on display: an unclothed human figure (noun); especially in an artistic representation. Source: Webster’s Kenneth Clark, the critic who wrote The Nude: A Study in Ideal Form, “ believed that nude forms are the admirable equivalent of Titian’s Venus; they are ideal forms of art, while naked bodies are just their embarrassing, real-life counterparts.”
2. Why is it necessary to challenge a persistence of a feminine ideal in contemporary culture?
In terms of female power both artistically and physically it is a necessary phenomenon but I think it is has come about by larger underlying issues starting in the mid-twentieth century: the necessity of shifting of gender roles, and pressures from a re-organizing global economy.
Orlan
Ellen Gallagher
IDENTITY
3. Is memory a “mutable identifier” (EP), that can come from the well of images and the collective consciousness?
I think it is a connector to universal commonalities, which can make artworks more accessible and personally relevant.
"Filette" Louise Bourgeois
“Breaking down identity is a valid way of making a statement about the fact that at our core we are all human beings.” Madison
4. Are there really benefits to joining a group aside from community?
Yes, but there may be rules and a price to pay that might make one feel they are jeopardizing their integrity. Can you have it both ways? No, I think you have to make a choice.
5. "Power structures come into play when both humor and stereotypes are involved." Celine
I agree with this and that is why it is very tricky to use humor as a leveler when addressing identity in terms of power. It can be a momentary fantasy eschewing the pain of : women, marginalized peoples and other oppressed minorities.
"I WAS TRYING TO FIGURE OUT WHY BLACK PEOPLE WERE CALLED SPADES, AS OPPOSED TO CLUBS. BECAUSE I REMEMBER BEING CALLED A SPADE ONCE, AND I DIDN'T KNOW WHAT IT MEANT; NIGGER I KNEW BUT SPADE I STILL DON'T. SO I TOOK THE SHAPE, AND STARTED PAINTING IT."
David Hammons in regards to sculpture below:
David Hammons
Colescott is using stereotypes in his work (below) but it is important that he is a black artist claiming these stereotypes thus empowering himself/culture identity as opposed to the use of these stereotypes being depicted by a white artist or an artist from another ethnic group. He has license.
1. Why are most new (last 15 years or so) American low to middle income housing projects, at least locally, look so utilitarian in concept and devoid of aesthetics? Is this the influence of the Bauhaus as well, poverty, what?
2. I have been seeing monotonous grey and beige houses going up everywhere. Are people afraid of color or is it just more expensive? Is this due to a breaking down of the Art Education in our public schools?
3. Did Marc Dion make a comment on this? His work above.
Representation
4. Photography was thought to have freed painting. It actually added another dimension for painters to work with.
Elizabeth Peyton
David Hockney
5. MIMESIS:
A basic theoretical principle in the creation of art. The word is Greek and means “imitation” (though in the sense of “re-presentation” rather than of “copying”). Plato and Aristotle spoke of mimesis as the re-presentation of nature. According to Plato, all artistic creation is a form of imitation: that which really exists (in the “world of ideas”) is a type created by God; the concrete things man perceives in his existence are shadowy representations of this ideal type. Therefore, the painter, the tragedian, and the musician are imitators of an imitation, twice removed from the truth. Aristotle, speaking of tragedy, stressed the point that it was an “imitation of an action”—that of a man falling from a higher to a lower estate. Shakespeare, in Hamlet’s speech to the actors, referred to the purpose of playing as being “ . . . to hold, as ’twere, the mirror up to nature.” Thus, an artist, by skillfully selecting and presenting his material, may purposefully seek to “imitate” the action of life.
6. It seems the lines between sciences, nature and arts can be successfully blurred in much of this fantastic new sculpture. Many of these artists manage to combine visual beauty, mystery, poetry with machines however some work we have seen, seem to be interested solely in the concept. The question is: if a piece of art makes you think, regardless of its lack of aesthetic qualities, does it still fall into the realm of visual art or is it in fact a whole new category?
Lee Bul
Mark Dion
Roxy paine
7. Where is the line between art and science and should it even be drawn?
8. How is the compartmentalizing of the traditional role of art as commodity and science as something generally sponsored as a serious study affecting their merger?
Placement of artworks to one another and its affect on the viewers’ experience.
Themes or threads in show. Competence, readability, visual impact, design, unity,
Spirit or personality of the artists chosen for exhibit.
Artworks chosen for exhibition. Originality, Context, Message, Technical Skill, Craftsmanship, and Presentation.
Quality,diversity and compelling nature of different artworks and how they contribute to the overall exhibition.
Nature of the spaces chosen for exhibition and how successful they are in terms of juxtapositions.
Are the artworks relevant to our time in a profound context?
Scene from the movie: "The Exorcist"
My thoughts on evaluating our leading discussions on “The Narrative” and “Deformity.”
… I thought that the first presentation went much better than the second. There are several factors for this, one being that my partner and I began our talk after a wonderful, relaxing class playtime working with crayons and glue. She, Sarah, blew in from a long drive, started the discussion with a somewhat impromptu, better catch up and continued that with that energy. The class also was ready to think and work on a subject that was probably incorporated in most of their work and something they were open to; felt had relevance. I personally feel more of an affinity for narrative works.
Our second discussion followed an excellent, presentation and long discussion on “Nature and Technology”; a subject that for the class (and myself) has possibly more depth and relevance to our time. I think that a discussion on the celebration deformity was distasteful and macabre to the majority of the class and thus it was hard to get a lively discussion going. The chapter from “Freaks in the American…” though interesting, in retrospect may have been dated and too long, though the chapter led us to the fascinating works of Diane Arbus, Joel Peter Witkin, and ultimately Marc Quinn.
I felt everyone concurred, due to its shock value, deformity in art was somewhat of a cop out artistically, so the general lack of enthusiasm and being at the tail end of class didn’t help us get it off the ground the way I would have liked.
I think the worst thing for a teacher must be facing a silent, unresponsive class and it’s a challenge to keep people engaged.
What I learned: There are always many factors at play. It’s very important to have more than enough material to draw on and organize things so that, when there is a lull, you can pull something out of your hat. Humor is always useful and I think it’s harder to do something with a partner or a group and a discussion goes better when the leader(s) has a passion for the subject. My lack of affinity for the chapter/subject of “Deformity” may have come through. In conclusion…we should have been better organized. I’m glad I had both a positive and negative experience with this assignment.
The "grotesque" in art had a fairly specific birth date which was around 1500. This category of art and decoration is based on the Roman wall paintings that were uncovered in 1488 in the buried ruins of Nero's Domus Aurea, the "Golden House" on the Esquiline Hill in Rome. The term grotesque comes from the Italian word grotto, or cave. Initially the word grottesco referred solely to a type of ornamentation where animal, vegetable and mineral mingled in a bizarre fashion deliberately confusing the animate with the inanimate: human heads grew from trees, animal faces were placed on human bodies etc. Examples of this kind of art:
Mother Nature is surrounded by grottesche
in this fresco detail from Villa d'Este
Each photograph was the size of a visiting card, and such photograph cards became enormously popular and were traded among friends and visitors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons. "Cardomania" spread throughout Europe and then quickly to America. Albums for the collection and display of cards became a common fixture in Victorian parlors.
John Tenniel: original illustration for Alice in Wonderland by Lewis Carroll ----------------------------------------------------------------------------------------
Marcel Duchamp
Andy Warhol
Sherrie Levine
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Jeff Koons
Katharina Fritsch
Cornelia Parker
Charles Ledray
