...Art in Theory: Mid Term February 26, 2016 1. When Marcel Duchamp first displayed his readymade, he was adding upon earlier, pre-Modernist conceptions of a painting as thing. The major new idea Duchamp added to the art world was that everyday things (such as a shovel in this case) can become art by simply putting it a place where one would expect to find art, such as museums and galleries. This caused the art world to reconsider what they considered art, based on the location of the piece (MoMA learning). Duchamp purposely wanted to disrupt this validating context people had established a work’s identity as art as entirely a matter of convention. What Duchamp did, which was brilliant in its own right, was he simply assigned an exhibition value to what was typically a use value object such as shovel or a urinal. The de-contextualization of objects by scrambling their semantic association, as the shovel or the urinal became a non-functioning referent (as we spoke about in class) through his choice and its appropriation. What Duchamp wanted to get back to was that art should be made to express the idea, not to provoke aesthetically pleasing results. His goal was to run from the Modern approach of thought, then action, as he preferred instead a delay in the onlookers mind, before considering whether something is art or not. That though provoking characteristic...
Words: 1875 - Pages: 8
...Art and Intention Colleen Claus ART/101 August 16, 2013 John Lennox Art and Intention The statue of David was created to symbolize the city of Florence’s freedom from foreign, papal, and Medici rule by depicting the triumph of David over the giant, Goliath. The unveiling met with public resistance. Supporters of the Medici family hurled stones at it during the night. Other citizens objected to its nudity. To protect the sensibilities of the viewers, a copper skirt was made to go around it (Sayre, 2009). Marcel Duchamp’s painting, “Nude Descending A Staircase” is a captivating piece. By viewing it from a distance one perceives the graceful flow of movement. This is an abstract painting using cubism and inspired by stop-action photography. The public expected a realistic painting and did not understand the work. They thought the artist was mocking them. A reporter challenged anyone to find a woman in the picture (MyArtsLab, 2012). This painting is not a study of the human body but a study of movement. The inspiration for this piece was a book by Etienne Jules Marey, pictures of a horse trotting in stop-action photography, and an illustration that used a system of dots to indicate the point of each movement made (MyArtsLab, 2012). Duchamp depicted motion with the study of a figure in kinetic motion, represented by successive superimposed images of the subject. At first viewing the painting seemed to depict chaos and confusion. Knowing the artist’s...
Words: 302 - Pages: 2
...Contemporary art- art that is relative to our current society. Art of the present. Artist is usually alive and making art right now. Being a flux: constantly changing. There is no unified, crystallized interpretation or theory of it. Diverse nature of issues, styles, and forms. Part of our culture and visual culture. * see a lot of mediums and diverse. * no dominate style or medium * what is considered painting is becoming blurred * New art forms appear besides traditionally recognized art forms. ex: installation art, process art, video art, digital and experimental forms *diverse and eclectic. No single medium or ideology dominates *Medium categories are broadening, boundaries are getting blurred and redefined. *referencing and sampling from contemporary popular/consumer culture. * Art becomes interdisciplinary and cross-disciplinary (artist as scientists, cultural anthropologists, journalists, reports, etc.) continuation *Technologies -> new way of producing and conceptualizing art (digital culture, Internet, virtual reality) *New media potentials: video, robotics, transgenic art, etc. * new technologies create new paradigms *up until the late 1800s, what was the way to send a picture? <- painting. *what changed that? <- photography Art world goes global ( global production, reproduction, art market: global economy, dissemination) - Paris and NY ** *”About-ness” artist as social and cultural observer, critic *Artwork functions...
Words: 1962 - Pages: 8
...Art and Intention A Nude Descending a Staircase was such controversial among the public, many critics responded with such negative behavior because he added nude to the title. I guess when you add nude to the title people just suspect that you are talking about a nude body. I think people felt intimidated by his paintings, and felt he was making a mockery of the audience because no one was able to find any nude bodies in the painting, because Marcel Duchamp I feel had nothing to do with any form of nudist, it was all about motion. I think the public was more gazed upon the name rather than what the painting was about. Marcel Duchamp got these ideas from Etienne Jules Marey illustration of how he dictated movement; this is how motion pictures were invented. Just being able to understand what Marcel was talking about and his intent of bring the audience awareness to motion, made me better understand what he was talking about and where he is coming from. Just to look at the picture and read the title can give you mix feelings, because the first thing you look for is nudity in the picture. Michael Angelo sculptures David which is a master piece of renaissance art, was under much scrutiny by the people. This piece of art represented how David triumphed over Goliath and freedom from foreign and religious domination. Because the way the sculpture was made, with its genital exposed was a political mockery some thought, the supporters of Medici would throw stones at...
Words: 326 - Pages: 2
...Nilson Carroll ART 353 Research Paper The Dada Text In July 1916, as the Great War raged across Europe, Hugo Ball read aloud the first Dada manifesto at the Cabaret Voltaire (Ades, Caberet 16). In typical Dada hyperbole, the manifesto made wild claims about the power of the word Dada and how it indicated a new tendency in art and literature. The manifesto, and the many that were written after it, identified and combated what the Dadaists saw as the bourgeois corruption that had caused the war and diluted art into something worthless. Through written manifestos, Dada poetry and collage, wild forms of theater and new ideas on visual art, Dada found a common voice among several different groups of artists from across Europe and in New York. Today, Dada is understood as an art movement, chronologically somewhere in between Futurism and Surrealism. Yet, Dada cannot be understood simply as a visual art movement, but instead as a literary movement. Rather than through painting or sculpture, Dada is best understood through the text, manifestos, poetry, and magazines produced by the Dadaists. Dada visual art by artists like Francis Picabia, Marcel Duchamp, or Hans Arp do not rely on traditional formal elements of art, but rather on the titles of the works. Dadaists have more in common with their contemporary, poet Guillaume Apollinaire, than with any painter, and they are more concerned with Symbolist poets Arthur Rimbaud and Comte de Lautréamont than with modern painters Édouard Manet...
Words: 2082 - Pages: 9
...Art and Intention Checkpoint D Lopez Axia College of University of Phoenix Art 101 October 26, 2012 The reaction of the public was not being able to understand what the artist were trying to convey. Marcel Duchamp’s and Michelangelo’s David Nude Descending a Staircase showed this painting had two modern art movements, the Cubism and Futurism. Cubism: The Cubism period focused a lot of multiple viewpoints. Mapped the motion and energy of the body as it passed through space making the picture look unrealistic. Futurism: The Futurist period, was a period fascinated with speed. Artists created an illusion as if the painting were moving. This painting raised eyebrows in France and brought a scandal in New York when the painting was display, the mechanistic approach to the female body was perceived as a crude. Viewers found Michelangelo’s David painting as if he was mocking the audience because They could not find a woman in the painting. People didn’t care very much for his painting, people were offended by the nudity. The public felt that Marcel Duchamp’s Nude Descending art didn’t appreciate art, the people felt that he was disrespectful, his work showed flat forms that overlapped in shallow space. Duchamp wanted to combine two different styles modern art. The Knowledge of the artist inspiration does enhance my appreciation of the painting because after looking at...
Words: 295 - Pages: 2
...during World War I and peaked from 1916 to 1922. It was shared by independent groups in New York, Berlin, Paris and elsewhere. * The movement was a protest against the barbarism of the War; works of anti-art that deliberately defied reason. * Dadaism primarily involved visual arts, literature, poetry, theatre, and graphic design. Its purpose was to ridicule what its participants considered to be the meaninglessness of the modern world. In addition to being anti-war, dada was also anti-bourgeois and anarchistic in nature. According to its proponents, Dada was not art; it was anti-art. For everything that art stood for, Dada was to represent the opposite. Where art was concerned with aesthetics, Dada ignored them. If art is to have at least an implicit or latent message, Dada strives to have no meaning. Interpretation of Dada is dependent entirely on the viewer. If art is to appeal to sensibilities, Dada offends. Perhaps it is then ironic that Dada is an influential movement in Modern art. Dada became a commentary on art and the world, thus becoming art itself.” * The Dadaists channelled their revulsion at World War I into an indictment of the nationalist and materialist values that had brought it about. They were united not by a common style but by a rejection of conventions in art and thought, seeking through their unorthodox techniques, performances and provocations to shock society into self-awareness. The name Dada itself was typical of the movement’s anti-rationalism. Various...
Words: 3548 - Pages: 15
...DEFINITION -Installation art sits right on that curious border between architecture, art and interior design – part physical experiment, part personal expression and part designed space. These works of installation artists show the untapped potential of spatial experience not often seen in more purely functional (or purely artistic) works of design. -Installation art describes an artistic genre of three-dimensional works that are often site-specific and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called Land art; however, the boundaries between these terms overlap. - Type of modern art in which the artist uses, as part of the composition, the specific setting (such as walls, floor, lights, and fittings) along with various materials. Typically the chosen materials more or less fill the space, and the viewer is often able to move around or otherwise interact with the work, so that they become part of that work in that specific moment in time. BRIEF AND HISTORY Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public and private spaces. The genre incorporates a broad range of everyday and natural materials, which are often chosen for their "evocative" qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet. Many...
Words: 1442 - Pages: 6
...At the turn of 20th century, the relationship between art and society was changing rapidly. Several art movements emerged, with artists strongly believing that the main goal of art was to influence and change status quo. This change was caused and influenced by several issues, such as rapid technological development, development of science, philosophy or photography, crucial cultural and political changes, first world war, etc. In this paper, I will discuss the aim and the effect of three important 20th century movements that are integrally related to the growth and development of Modernism in the early 20th century: dada, surrealism and futurism, analyzing their manifestos and works of art, how they challenged their modernity and what impact did they have on latter development of art. The first art manifesto of the 20th century was introduced by Futurists in Italy in 1909. Before that time, the manifesto was almost exclusively a declaration with political aims. The intention of different artists adopting the form, therefore, was to indicate that they are employing art as a political tool, addressing wider issues such as the need for revolution, problems of political system and/or society, freedom of expression, etc. Moreover, it was not uncommon for manifesto writers and other members of the movements of the early 20th century to also be politically active. Futurist leader – Marinetti was one of the young intellectuals and artists who actively opposed Italian government’s...
Words: 3531 - Pages: 15
...Hockney: His Life and His Art Biography David Hockney was born on July 9, 1937, in Bradford, England, to Laura and Kenneth Hockney. The Hockneys were, as David said, a "'radical working-class family.'" Laura and Kenneth were solid parents who only wanted their children to have the best education possible. Laura raised her children as strict Methodists and resolutely shunned smoking and drinking in the home. Kenneth was a passionate radical and a conscientious objector during World War I. David Hockney was always considered an eccentric in Bradford. He never really cared what people thought of him and always did as he pleased. He spent afternoons at Sunday School drawing cartoons of Jesus,...
Words: 2514 - Pages: 11
...THE RULES OF THE GAME: NOUVELLE EDITION FRANCAISE/THE KOBAL COLLECTION DEEP FOCUS CANON FODDER As the sun finally sets on the century of cinema, by what criteria do we determine its masterworks? BY PAU L SC H RA D E R Top guns (and dogs): the #1 The Rules of the Game September-October 2006 FILM COMMENT 33 Sunrise PREFACE THE BOOK I DIDN’T WRITE I n march 2003 i was having dinner in london with Faber and Faber’s editor of film books, Walter Donohue, and several others when the conversation turned to the current state of film criticism and lack of knowledge of film history in general. I remarked on a former assistant who, when told to look up Montgomery Clift, returned some minutes later asking, “Where is that?” I replied that I thought it was in the Hollywood Hills, and he returned to his search engine. Yes, we agreed, there are too many films, too much history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to...
Words: 11026 - Pages: 45
...mTELECOURSE STUDY GUIDE FOR The Examined Life FOURTH EDITION author J. P. White Chair, Department of Philosophy Santa Barbara City College contributing author Manuel Velasquez Professor of Philosophy Santa Clara University This Telecourse Study Guide for The Examined Life is part of a collegelevel introduction to philosophy telecourse developed in conjunction with the video series The Examined Life, and the text Philosophy: A Text with Readings, tenth edition, by Manuel Velasquez, The Charles Dirksen Professor, Santa Clara University. The television series The Examined Life was designed and produced by INTELECOM Intelligent Telecommunications, Netherlands Educational Broadcasting Corporation (TELEAC/NOT), and Swedish Educational Broadcasting Company (UR) Copyright © 2007, 2005, 2002, 1999 by INTELECOM Intelligent Telecommunications All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without the written permission of INTELECOM Intelligent Telecommunications, 150 E. Colorado Blvd., Suite 300, Pasadena, California 91105-1937. ISBN: 0-495-10302-0 Contents Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v Lesson One — What is Philosophy? . . . . . . . . . . . . . . . . . . . . ....
Words: 78103 - Pages: 313
...THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times...
Words: 38936 - Pages: 156
...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
Words: 117240 - Pages: 469
...> 168159 CD >m Gift of YALE UNIVERSITY With the aid of the ROCKEFELLER FOUNDATION 1949 OSMANIA UNIVERSITY LIBRARY Call No. Author %&V/S#/ 2-^ & Accession No. - . This bookihould be returned on or before the date last marked below. WHAT IS LITERATURE? JEAN-PAUL SARTRE Translated from the French by BERNARD FRECHTMAN PHILOSOPHICAL LIBRARY NEW YORK Copyright, 1949, by Philosophical Library, Inc. 15 EAST 40th Street, New York, N.Y. Printed in the United States of America TABLE OF CONTENTS Foreword I II What Why is Writing? Write? Whom Does One Write? 7 38 III For IV Situation of the Writer in 1947 161 Index 299 67 FOREWORD want to engage yourself," writes a young imbecile, "what are you waiting for? Join the Communist Party." A great writer who engaged himself often and disengaged himself still more often, but who has forgotten, said to me, "The worst artists are the most engaged. Look "If you at the Soviet painters" "You want tres is to murder An old critic gently complained, literature. spread out insolently all Contempt for belles-let- through your review." A petty mind calls me pigheaded, which for him is evidently the highest insult. An author who barely crawled from name sometimes awakens men accuses me of not being one war to the other and whose languishing memories in old concerned with immortality; he knows, thank God, any number of people whose chief hope it is. In the eyes of an American...
Words: 94432 - Pages: 378
