The document discusses several conceptual artists from the 1960s-1970s who incorporated their own bodies and performances into their artwork, often to provoke reactions from audiences and address social issues. It mentions Bruce Nauman manipulating his own body as a material for art. Chris Burden performed dangerous actions like shooting at a plane for his 1971 piece "Shoot". Adrian Piper created an alternate persona called "The Mythic Being" in 1973 to document reactions to a fictional mixed-race character. Orlan underwent a series of cosmetic surgeries as performance art in the 1990s to question beauty ideals.
For centuries women and artists of color have had little voice in history and the art world. Today the art world is slowly accepting these artists and they are getting to tell their part of history.
For centuries women and artists of color have had little voice in history and the art world. Today the art world is slowly accepting these artists and they are getting to tell their part of history.
A slideshow connected to a lecture of Feminism & Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Saisha Grayson-Knoth.
The power of the image: Contemporary art, gender, and the politics of perceptionDeborahJ
The relation between visual representations and the identity of the human subject.
The ideas and research that have informed this lecture are grounded in the areas of queer theory, gender studies, critical race theory, and feminist studies.
'Bad' Painting and the work of Anton HenningJames Clegg
This lecture users the theme of taste to explore the subject of postmodernism, building to a consideration of 'Bad' Painting and the work of German artist Anton Henning. By James Clegg
Real World Classroom - unplugged & expanded SeanNixon
A lively panel of SUNY Ulster faculty from various disciplines who incorporate the Real World Classroom. Sean Nixon, Design, will lead with Sal Ligotino, Engineering, and Mindy Kole, Marketing. Each describe how students excel using this model. Brainstorm how your community could work with your discipline. We are the world; we are the classroom.
A slideshow connected to a lecture of Feminism & Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Saisha Grayson-Knoth.
The power of the image: Contemporary art, gender, and the politics of perceptionDeborahJ
The relation between visual representations and the identity of the human subject.
The ideas and research that have informed this lecture are grounded in the areas of queer theory, gender studies, critical race theory, and feminist studies.
'Bad' Painting and the work of Anton HenningJames Clegg
This lecture users the theme of taste to explore the subject of postmodernism, building to a consideration of 'Bad' Painting and the work of German artist Anton Henning. By James Clegg
Real World Classroom - unplugged & expanded SeanNixon
A lively panel of SUNY Ulster faculty from various disciplines who incorporate the Real World Classroom. Sean Nixon, Design, will lead with Sal Ligotino, Engineering, and Mindy Kole, Marketing. Each describe how students excel using this model. Brainstorm how your community could work with your discipline. We are the world; we are the classroom.
This presentation shares an overview of Competency-Based Education (CBE). Find notes with transcript here: https://drive.google.com/file/d/0B0lwpuBcseSvcGptOVlmSjZOakk/view?usp=sharing
Visit edusasha.com for more resources on CBE, instructional design, faculty professional development, gamification, MOOCs, digital badging and more.
Appropriation is an important historical practice in art-making, in which the artist uses a previously existing form, image or sound in new ways. The creative effort is defined by the inspired selection and manipulation of found materials. The end result is a strangely familiar, yet an altogether new creation.
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During my years as a teacher and tutor, lecturer and adult educator, 1967 to 2005, I used various television documentaries. The doco I used more than any other was Civilisation: A Personal View by Kenneth Clark, a documentary series outlining the history of Western art, architecture and philosophy since the Dark Ages. The series was produced by the BBC and aired in 1969 on BBC2.2
1 Week 1 Visual Culture in the Western World Th.docxjeremylockett77
1
Week 1
Visual Culture in the Western World
The Idea of Cinema
-Fascination with images can be traced back to
Plato (The Republic) in the parable of “The Cave”
Plato raises the danger of being
complacent with the illusion of the image
The dangers of an uncritical
understanding of the image
-The period of Enlightenment:
scientific studies and machinations are developed
to “capture, project and record images.
-17th century:
Athanasius Kircher (1601-1680)
developed the “catoptric lamp.”
German-born Jesuit priest and scientist whose
book Ars magna lucis et umbrae diagramed the
outlines for his reflecting optic machine.
Did not invent the “magic lantern”
He projected and reflected images on the wall
Encouraged scientific explanation to his spectators
so as to demythify images as some sort of magic
or ghostly apparition.
He emphasised that these images were not magic,
but “art.”
The Magic Lantern—17th Century
2
1659—Christiaan Huygens develops the “lanterne
magique”
1664—Thomas Walgensten developed a similar
apparatus in Paris
Unlike Kircher who used sunlight to reflect the
image Huygens and Walgensten used an artificial
light source
Walgensten traveled through Europe with the
“lanterne magique” (Lyons, Rome, and
Copenhagen)
The people who saw the lanterne magique were
initially royalty in these cities
By the end of the century the lantern shows were
exhibited in more popular culture venues such as
fairs and carnivals
18th and 19th CENTURIES
1740— X. Theodore Barber demonstrates the
“Magick Lanthorn” in Philadelphia, New York, and
Boston.
Venues such as private homes and coffee houses
were the favored sites for these exhibitions.
France, however, was where these lantern shows
first gained commercial popularity at the beginning
of the 19th century.
3
Etienne Gaspars Robertson
“Fantasmagorie” capitalized on superstitions and
religious fears
Invoked the “spirits” of Rousseau and Voltaire
It was a theater of apparitions.
Unlike Kirhcer, Robertson did not tell his audiences
that the “Fantasmagorie” was a technological
spectacle
Like contemporary theater and film, Robertson
maintained the illusion of the image
-It was an extremely complicated production to
put on - images size and intensity of light had to
be continuously managed
The Fantasmagorie was internationally popular.
Each traveling show was uniquely packaged
usually attended by an adult urban middle-class
audience.
1803—Barber presented the French Fantasmagoria
in New York
1803—Showmen Bologna and Thomlinson
exhibited the Fantasmagoria in London
Americans saw the ghost of Benjamin Franklin
and exotic figures like the “Egyptian Pygmy Doll”
4
There was sound with these presentations—
ghost’s voices, music
Ticket prices were approximately US$1.
1830
Photography and the Stereopticon
The difference between t ...
1. “ I was using my body as a piece of material and manipulating it. I think of it as going into the studio and being involved in some activity. Sometimes it works out that the activity invloves making something, and sometimes the activity itself is the piece.” Bruce Nauman 1965
11. «747» January 5, 1973 Los Angeles, California, at about 8am at a beach near the Los Angeles International Airport, I fired several shots with a pistol at a Boeing 747.
19. VITO ACCONCI In 1969, already a published poet, Vito Acconci made his first visual artworks by combining photographs with texts to document task-oriented activities that he performed specifically for the lens. In Grasp (1969), he acknowledges the archival capabilities of photography—"camera as grasp, photo as storage"—but foregrounds the performative act of picture taking, of physically seizing an image.
28. Body, Sexuality, Gender Interior Scroll 1975 “ I thought of the vagina in many ways – physically, conceptually: as a sculptural form, an architectural referent, the sources of sacred knowledge, ecstasy, birth passage, transformation. I saw the vagina as a translucent chamber of which the serpent was an outward model: enlivened by it’s passage from the visible to the invisible, a spiraled coil ringed with the shape of desire and generative mysteries, attributes of both female and male sexual power. This source of interior knowledge would be symbolized as the primary index unifying spirit and flesh in Goddess worship” - cs
34. Courtesy the Smart Museum Adrian Piper: The Mythic Being Through December 10. Smart Museum , 773/702-0200. In 1973 conceptual artist Adrian Piper, a woman of mixed black-white racial heritage, created an alternate persona called the Mythic Being. Donning an Afro wig, sunglasses, and a mustache, she documented how she and others responded to the character
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37. Marking her first explorations in spontaneous and unannounced performance, in 1970, Piper embarked on her seminal Catalysis series in which she physically transformed herself into an odd or repulsive person and went out in public to experience the frequently disdainful responses of others. These explorations into xenophobia involved such activities as covering her clothing with sticky, wet paint while shopping at Macy's. Though photographs are all that remain of the Catalysis series, the work itself focused on the interaction between the artist and the public, and more specifically, on the reaction of the individual to Piper's presence.
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40. Courtesy the Smart Museum Adrian Piper: The Mythic Being Through December 10. Smart Museum , 773/702-0200. In 1973 conceptual artist Adrian Piper, a woman of mixed black-white racial heritage, created an alternate persona called the Mythic Being. Donning an Afro wig, sunglasses, and a mustache, she documented how she and others responded to the character This work is one of the first examples of "the indexical present," a highly effective (yet commonly criticized as confrontational) technique that Piper uses to situate the work in the immediate present and create a direct relationship to the viewer by the use of words like "I," "You," "Here," and "This," instead of "We," "There," etc
41. In the late 1960s, Piper was influenced by artists such as Sol LeWitt, Vito Acconci, and Yvonne Rainer, and much of her work was based on Conceptual art Piper's primary intention was to evoke a spontaneous response from an unknowing audience. For The Mythic Being , Piper took on the persona of a young, black male and went to public sites to experience attitudes and responses toward this socially contested figure, described best in the title of one of the series, I Embody Everything You Most Hate and Fear (1975 The Mythic Being
57. Orlan – “Carnal Art” A series of nine cosmetic surgical operations were performed as art between 1990 and 1993 . “ “ she has chosen to reconstruct herself using some of the more beautiful images of female beauty from the history of western Art rather than relying on media images of supermodels as sources of inspiration.”
58. “Instead of making her nose smaller she intends to enlarge it as much as possible”
59. “ Orlan’s art raises many questions regarding current ideals of feminine beauty and the anxieties such ideals impose on men and women alike As we all current live in a society obsessed with unattainable youth and perfection.”
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62. “Had cheek implants inserted above her temples to create two distinctive bumps that resemble budding horns”