As discussed in the paper above, the contemporary notions of public and private art are beyond complex. The traditional understanding of art was rather limited and very concise in what was accepted as art and even fine art. Today, those barriers have broken down significantly, with the push back against traditional privatized galleries and museums, toward more open, public and somewhat radical ideas. The main reading from this week that helped me gauge the issues of public art was Cameron Cartiere's “Coming in From the Cold” because she delves into the complexity of public art through definition and practically in a way that I had never been exposed to before. Her writing stuck in my head all semester causing me to constantly question the …show more content…
This dress was quite literally made of meat sewn together and hung on a dress form. It is a form of social commentary about bodily decomposition and vanity, among other interpretations ( Robertson & Cronin, 2011, p. 116). The importance of this piece lies in its oddity as a public art piece because according to Cartiere, it must be outside the museum and at least one of the other 4 traits listed Vanitas does not fulfil the basic necessity of this definition of public art, nor does it fulfil any of the subsequent 4 because it was displayed in a gallery. It appears as if Cartiere has completely missed the mark, but I disagree. I believe the importance of social commentary, controversy, conversation and national appeal that is produced is much more important to public art and to Cartiere because the entirety of her article is to bring attention to complexity of the field and to try and expand its meaning academically along with it publicly. Ultimately, the fact the this piece blew out of the gallery and performed the same way a piece like Banksy's did is a further testament to Cartiere's interpretation. While it appears I have disproved the definition Cartiere puts forth, it is more of a development and somewhat of a support to her initial claim of the unrecognized contributions of public art. Perhaps there should be exceptions to the norm, as public is art a constantly evolving field, and as is the
The mission of LA Plaza de Cultura y Artes is a non-profit organization/museum founded to celebrate and cultivate an appreciation for the enduring and evolving influence of Mexican and Mexican-American culture, with a specific focus upon the unique Mexican-American experience in Los Angeles and Southern California. The museum itself is near where Los Angeles was founded in 1871 and includes a 2.2 anchor campus that includes two historic and renovated buildings (Vickrey Brunswig Building and Plaza House). All surrounded by beautiful public gardens. La Plaza is also located near the heart of Los Angeles surrounded by other ethnic sites like Little Tokyo. (However after visiting one can 't help to realize the homeless problem in the Los Angeles area, and realizing some are even Chicano.)
... the visitor. Conspicuous consumption is exemplified through this painting and the museum because it was basically all created by overbuying and greed. It can be said that the single very reason anybody sees that painting hung on the wall of a misfit room in a disorganized museum is only because of one man’s extreme case of money flaunting in an age where everything needed to be big and flashy. Also this painting was created smack dab in the middle of the Gilded Age. The painting itself has no direct connection to this era but it makes an argument for why the piece is hung in the museum.
The painting depicts a mother and her four children, who are all leaning on her as she looks down solemnly, her tired, despondent expression suggests she felt trapped in her roles as being a mother and a wife. The woman and her children are clearly the focal point of the artwork as the bright colours used to paint them stand out impeccably against the dull, lifeless colours of the background. This painting appears to be centred around the ideology that women are home-keepers, whose main role is to satisfy and assist her husband while simultaneously minding the children and keeping the home tidy and ready for his return. The social consequences of this artwork could have been that the woman could have been berated for not taking pleasure out of being a mother and raising her children, as a woman should. She could have been made redundant as her husband may have felt as though she is no longer useful if she couldn’t adequately adhere to her roles as a mother and a
The earliest forms of art had made it’s mark in history for being an influential and unique representation of various cultures and religions as well as playing a fundamental role in society. However, with the new era of postmodernism, art slowly deviated away from both the religious context it was originally created in, and apart from serving as a ritual function. Walter Benjamin, a German literary critic and philosopher during the 1900’s, strongly believed that the mass production of pieces has freed art from the boundaries of tradition, “For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependance on ritual” (Benjamin 1992). This particular excerpt has a direct correlation with the work of Andy Warhol, specifically “Silver Liz as Cleopatra.” Andy Warhol’s rendition of Elizabeth Taylor are prime examples of the shift in art history that Benjamin refers to as the value of this particular piece is based upon its mass production, and appropriation of iconic images and people.
Inside the yard now stands a freshly painted mural, sixty feet wide and twelve feet high. The work is the result of weeks of designing and planning, and with luck it might last as long on the train as it already has on paper. What the boys have done, what has taken place inside that trainyard, is a work of art. [Let us begin with a basic assumption. One may object to graffiti on social or moral grounds, but only in the most conservatist terms can it not be considered “art.” Any idea of art which does not go out of its way to disinclude vandalism will, in fact, contain graffiti. We will, then, put aside social and moral considerations for the duration, and consider graffiti as art.]
Duchamp’s piece was not controversial because of the simplistic nature of the piece, nor the oddity of it- it was controversial because he had not made it himself. People were very opposed to this idea because they believed that art was something made and not found. Duchamp’s “ready-made” art, which were always mass produced objects made by machines, was offensive to them and so they rejected it wholeheartedly. Unlike Fountain, Kandinski’s Little Pleasures was not rejected because of the nature of its ’creation’, it was rejected because people had never before seen art with such a lack of recognizable forms. Before Kandinski, art had always had representations of things from life, and Little Pleasures seemed almost completely arbitrary to them with no connections to the world they lived in. As such, both pieces were, at first, denied the title of “art” because society was unable to break from tradition and admire something
Paolo Schmidlin’s Miss Kity, a sculture of the pope in drag, is one example of a work that sheds light on the the hazy aspects of ethicism. Viewing the work as ethically immoral, the Catholic Anti-Defamation League ordered the piece removed from its museum in Milan, while others lauded it as ethically meritorious it for its role in bringing light to the practice of censorship by the Church. Another example includes Georgia O’Keefe’s black iris, simultaneously debased and commended for its allusion to female genitalia. While ethicism as presented by Gaut, in absolute terms, seems perfectly straightforward and logical, these additional examples provide the audience with more multi dimensional view of ethicism and its
For majority of people, cruising through a fine arts museum or gallery is nothing short of browsing through a textbook and failing to grasping knowledge of the content. A casual activity and check off ones list of to-dos, sometimes done just for the appearance it offers. Of that majority, one might look at a painting for a long while before connecting the uncommunicated dots from gallery label. But for the small remaining others, a trip to an art exhibition is a journey through emotions and feelings rendered by the artists of the particular works of art. Leo Tolstoy deems this to be the appropriate response to “true art” in his What is Art?, published in 1897. Tolstoy responds to the
McKay’s uses the art of dance and fashion to allure the men and women. He chose to have the woman dancing sensually and half clothed, to capture everyone’s attention. By having the woman portrayed this way, it signifies her worth. Similarly, Rossetti uses art to objectify women, however, she uses the art of painting and fashion as well. “In an Artist’s Studio”, he objectifies the woman by painting her the way he sees her, not the way she actually is; In doing this, it is symbolizing that woman are controlled.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
Recent events in Canadian politics have shocked the artistic sector in Canada. The conservative party of Stephen Harper attacked the arts and culture sector by cutting funds to some major art programs in the country. Art has played an important role in the development of societies around the world. Everything from social structure and religion to politics and military was reflected in various forms of art; from painting and sculpture to theatre and dance. Ancient Egyptians build pyramids and had symbolic depictions of deities. Ancient Greeks, the fathers of democracy, were the masters of pottery, sculpture as well as architecture and painting. In ancient times art was not isolated from science, philosophy and of course politics. Everyday political, social, military and economical affairs were reflected in the arts, and vice versa. Artists were the thinkers, and thought provokers of the culture. In the Renaissance artists were synonymous with progress, invention and liberalism. They were the builders and reinforcers of cultural value and tradition. Modern day is seeing a variety of art forms that reveal the culture that art is produced within. Canada is a country rich in history, traditions and multiculturalism. It is important to sustain and develop the art sector in Canada in order to maintain and “voice” Canadian culture and identity. Moreover, the art industry in Canada not only improves the cultural fabric of the country, it also showing significant revenue to the government. The Harper Government funding cuts to the arts and culture sector is an unjustified act of censorship. Underfunding of Arts in Canada will hinder the development of values and unity in Canadian culture and Identity as well as hinder freedom of exp...
When someone enters an art gallery, they believe they are going to view art, but under the guise of Institutional Critique, this notion often false. Instead of being the traditional art of painting, sculptures, and installations, viewers encounter, in the work of Hans Haacke, Daniel Buren, and Michael Asher in the 1970s, not much to look at, but a lot to think about. In essence, Institutional Critique is a protest against museums/galleries demanding them to view art and art exhibition in new ways, exemplified by Conceptual art where words, video, readymades, and even ideas are art. Institutional Critique manifested from the protests of the 1960s, one of which philosopher Michel Foucault participated in Paris, 1968. Clearly, Institutional Critique gathered its raison d’être from these protests and imported them into the gallery space, but these protests continue today in the Occupy movements, highlighting Institutional Critique’s lasting impression and influence. Some key elements of Institutional Critique are site-specificity, its lack of commodification, WHAT ELSE. To understand Institutional Critique better, it is necessary to analyze the early works in this methodology through the works of Hans Haacke, Daniel Buren, and Michael Asher, but all other these works use the methodology to analyze different aspects of the art institution, but these uses of Institutional Critique cohesively display the main aspect of the methodology: protest. After all, Conceptual art is an avant-garde movement that in essence is a protest against mainstream art forms. Adding Michel Foucault’s “A Lecture from Power/Knowledge” to the discourse will further highlight the aspects of Institutional Critique, but also display its current relevancy to the Occ...
...reet Art, Ideology, and Public Space.” NYUClasses, Portland State University. 2012. PDF file. 6 May 2014
A good curator has the potential to shape a person’s approach to art and culture. In 2011, Andrew Bolton’s stunning presentation of fashion as art, in ‘Alexander McQueen: Savage Beauty’ opened my eyes to the work of a designer that would become the backbone to the majority of my undergraduate study. Aged 18, I traveled to New York where I visited the exhibition at the Metropolitan Museum of Art. Four years later, when ‘Savage Beauty’ was showing once again - this time at the V&A, curated by Claire Wilcox - I wrote my dissertation on the complex relationship between art and fashion through a detailed analysis of the exhibition which gave me my biggest passion.
Witherbee, A. (2013). Counterpoint: Education, the Masses, and Art. Points Of View: Arts Funding, 6. Retrieved April 19,2014 , from http://search.ebscohost.com/login.aspx?direct=true&db=pwh&AN=12421040&site=pov-live