Toreturntotheproblemoflegalpunishments,theprison.withallthecorrectivetechnologyatitsdisposalistoberesituatedatthepointwherethecodifiedpowertopunishturnsintoadisciphnarypowertoobserve;
I am very confused, i thought this whole article was based on punishment then they through this technology scenario.
SeeKarlMarx,
a read through this whole article before making my annotations, and was a little shocked. They i saw Karl Marx as a reference and now i understand.
”theyalterourunderstandingofwhatartactivelydoesasitentersintothecirculatorynetworksofpubliclife?"
i feel like its not technology that is contributing to the lack of emotion while viewing art, because one can walk through a museum, stop at a painting, and not understand it.
Butsometimes,whenallvoicescanbeheard,stillnothinggetssaid,becauseeverythingbecomesthesame—homogeneous.
Our goal is to have the voices of the people be heard, and have our art voices show through, but sometimes it all groups together.
it also includes the unconscious ways in which particular approaches to art marking (Le. styles) resonate with ecological concerns2
This reminds me of Pollocks unconscious showing through in his art.
We are proposing an ecological use for art, or at least for that art which most transparently depicts the environment: landscape art.
This reminds me of the theory of child development that they will grow up as their environment influences it. There are many theorists who argue this to be untrue and true, and i think we can argue both sides for art as well.
Much contemporary art—not to mention fiction, film, and television—reflects a Blade Runner vision of a world, in which the individual is rendered powerless by anonymous government agencies, giant corporations, and deafening mass culture. It’s useful to remember that this nightmare vision is itself a romantic stereotype, ignoring the positive aspects of postmodern society.
I think this is so important to remember when viewing and understanding contemporary art.
The fact is, there is a vast amount of good abstract art being made today, and the best of it is every bit as good as the best abstract art of the past.
I want to know Pepe Karmel's description of "good abstract art." Is it the famous ones or what is qualifying it to bee "good"?
Thedilemmaremainshowtoexpressone’sworldview,withallthemultipleculturalinflectionsthatinformit,withoutbetrayingeitherone’shistoricalorgeographicspecificityorart,andwithoutbeingcaughtinthewebofsignsthatarealltooconsumableasexoticcommodity.Perhapsoneneedstothinkofculturalexpressionnotonthelevelofsignsbutintermsofconceptanddeepstructure:toconsiderboththework’sinternalmovementandwhatgovernstheaestheticchoicesanartistmightmakeaboutmaterialsandprocess,andthematerialrelationtheworkhaswiththeviewer.3
I feel like this whole paragraph is describing the thin line of cultural appropriation.
Cultures,lwhichwereonceseentobemeaningfulbecausetheywerepresumedtobediscrete,stable,coherent,andunique,arenowincreasinglyseenasinterconnected,dynamic,lfragmented,andamorphous.lftheshapeofcultureshiftstowardfluxratherthanstability,
I feel as though even if cultures can be fragmented and amorphous, it does not take away from the meaning and uniqueness of the culture, but rather makes people hold them even more sacred.
“Wherearetheworksofart?”isthewrongone,becauseyouarestandinginit.
I feel like this doesn't have to be a wrong question, as this may have to be asked regarding contemporary art. Although they are standing in the art, they are accustomed to having to look at a framed painting.
Wherearetheworksofart?
this is so interesting because when someone goes to a museum they expect to see works of art in a frame on the wall. This puts people outside of their comfort zones to almost search for the art, and maybe notice things they would have overlooked before.
Whateveranswersmayexistarehere,rightathand,butveryhardtofind
This is very contemporary in itself.
Toanadvertisingman,quickturnaroundsarethenameofthegame,especiallyiftheystandagoodchanceoftriggeringanewtrend.
this just proves how difficult it is for artists to get recognition.
Kunsthallen.
arts venue
But tough economic times nudge artists into ad-hoc communities and foster what-the-hell experimentation.
I feel as though there is way more of a process that goes into the artists creations that tough economic times. Whether that be political or social movements or something else entirely.
“smallness” of the global world
literally or hinting at the closed-mindedness of the individual?
“to be global,” when free and equal cultural exchange is still limited by the power dynamics of globalization
is this their definition of globalism or simply a way to describe their art?
VeryrefreshingcanvasesappearedwithnoexplicitreferencestoCubanculture,showingyoungpeopleintheinformalactivitiesofdailylife.
This is interesting because my previous comment described people coming together to form their new identity and i feel this type of art plays into that new form of identity.
culturecarriesamarkedsocialedoeattunedtothecircumstancesinwhichitisproducedandwhereithasbee:forcedtoconstructanationalidentityinthefaceofcolonialandneocolonialpowers
I love the circumstantial affects that play on culture because it is so interesting to see how people come together to form their own identity in a time of crisis.
The“real"artists,
i hate this term! I think that anyone can be an artist. Everyone can have a specialty of media but who is to say what a real artist is?
objectswerearrangedsoastogiveaglimpseintothelifestyleofthecolonized.
im curious if this is the first of the participatory galleries or if this had been occuring before.
Artworkshavestartedtocreateanewlanguageforexpressionandcommunication,
I love this quote because it is so relevant to anyone. Especially being an art educator as you can typically learn so much from a person through their artwork.
Itisbeyondallofthese,establishingasingleera(globalera)andareducedspace(globalvillage),contrarytothepastwhencountrieswereidentifiedonthebasisoftheirownhistoryandidentity,interactingwiththeworldanditsdevelopmenteachintheirownway.
It is interesting to see this perspective as it is not losing culture, but rather seeing the interactions with the world.
Where is our reality?
This is such an essential question as everyone can have a different answer and connection made. No wrong answers for this question and no right ones. It is whatever you feel.
One way to imagine super flatness is to think of the moment when, in creating a desktop graphic for your computer, you merge a number of distinct layers into one. Though it is not a terribly clear example, the feeling I get is a sense of reality that is very nearly a physical sensation.
This is an interesting connection because it is meant for specific viewer. I personally have never created multiple layers for my desk top background so i do not understand this example. I usually copy and paste a picture.
Asanalternativetodespair,cynicismwasareason-ablereactiontotheeventsof1989
1 capitalized : the doctrine of the Cynics 2 : cynical attitude or quality Nothing could change her cynicism about politics. also : a cynical comment or act
metamorphosis
Visual metamorphosis is the term we use to indicate shape-shifting in art. It allows an artist to transform a shape representing one item into a similar shape representing something else. This, in turn, allows one meaning to be hidden behind another. It is a visual technique equivalent to allegory and metaphor in literature and has, in consequence, been widely used.
http://www.everypainterpaintshimself.com/theme/visual_metamorphosis
"...the notion of the untranslatable, what we might call 'the untranslatability of the term other'?" i think this is interesting because the untranslatable factor of languages. We are so accustomed to google translate but how does one translate concepts and notions?
"These are rather rough-grained sketch notes towards 'recoding the international'- a task both massive and daunting." I think that this is such an interesting line to begin a writing piece. It is stated that these are sketch notes yet there is so much information in one page alone.
"The point the artist seemed to be making was that national purity has always been a fantasy based on an imagined and necessarily ruined past" pg. 291. i was so drawn to this quote because i can make so many connections to our contemporary life not even relating to art with almost standards of purity such as sex lives, appearance, etc.
on page 5 it is discussed out the term globalisation was hardly used until the late 1980s, yet by the turn of the twenty-first century it was already being debated and opposed. I think this could be because it was relatively new and no one had a definitive definition for the term.
However, when one looks for “clear recipes” in Gillick’s work, few if any are to befound. “I’m working in a nebulous cloud of ideas,” he says, “which are somewhatpartial or parallel rather than didactic.”51Unwilling to state what ideals are to becompromised
again i i believe this can be a positive aspect as some art is meant to be not fully understood.
reaction to the type of art produced in the 1990s: work that is open-ended, interactive, and resistant to closure, often appearing to be“work-in-progress” rather than a completed object.
this is written in a negative tone but i think the idea of work in progress adds even more meaning to their pieces. Why isnt it finished? What defines being finished?
Gonzalez-Foerster thusexplores the unspoken contract that binds the gallery owner to''his/her'' artist, the former being an integral part of the other'spersonal history, and vice versa.
this reminded me of our discussion in class about personal issues affecting whether you still show their work or not and why you are showing it.
Spectator ''participation'', theorized by Fluxus happeningsand performances, has become a constantfeature of artistic practice
this involves the viewer not only with their eyes but puts them in the piece itself. They become a part of the piece physically.
With a tilt of the pelvis, the black man's bum be- comes a Brancusi.
Brancusi- Romanian sculptor noted for abstractions of animal forms (1876-1957)
"but only of a penis: the Negro is eclipsed. He is a penis." Like we discussed in class, this image is defining a man by his genitals. Cropping his face out of the picture was an artist license almost to convey this meaning further.
"There has always been considerable self censorship in the art world when it comes to sexual images, and the evidence indicates that is increasing..." this quote continues to discuss how the images might arouse the public. I am curious is arousal is "inappropriate" or if it can be considered just another feeling that is obtained from the art work.
"this war on culture, then, attempted not only to remove funding and resources, but also to shrink visibility, language, and memory." i do not think they are discussing memory visibility or language in the literal sense, but rather describing the mind, how they are remembering something, and how they are going to discuss.
It would appear from such a statement that what is at stake is not the survival of people with AIDS and those who might now be or eventually become infected with HIV, but rather the survival, even the flourishing, of art
its so interesting that they are connecting this disease in which has no cure to be good for art in our society. It is kind of absurd. I think people who are living with the disease and making the most of their lives despite this disease is art.
"I assert, to begin with, that 'disease' does not exist. It is therefore illusory to think that one can 'develop beliefs' about it to 'respond' to it. What does exist is not disease but practices.
i feel like this quote is so insensitive; i understand that it was not made in regard to aids but the cholera epidemic, but either way the families and friends who saw people suffer must be in awe.
Many anists have decided to present workthat can be classified as painting, or as related to painting, but that mustbe seen as something otler: a desperate gesture, an unensy attempt toaddress the many contradictions of current art production by focusing onthe heart of the problem-that continuing debate between the "moderns"and the "post-moderns" that is so often couched in terms of the life anddeath of painting.
this is such a great way to describe the changing of art eras and how we recall on previous works to work into our pieces today.
[t raged againstorder,
i feel like this can be said about any new era of art and i love the word raging being used to describe this. In our society we love balance and order and art tests that in the greatest way. It opens our eyes to define what is art and what art is current of our time.
"For some time i have felt that the radicalism of Minimal and Conceptual art is fundamentally political, that its implicit aim is to discredit thoroughly the forms and institutions of dominant bourgeois culture..." what i gained from this is that this art is meant for the middle class, such as that of the bourgeois culture, to not understand it. To exclude them from this understanding where i think that even though it may be minimal and conceptual it is the artists job to be able to inflict an emotion from the viewers.
i love the quote in the beginning by Louis Aragon. I think it relates to many aspects of our lives not just the art that we create. Seeing the declines yet still pursuing it.
"from a modernist point of view, that somewhere else was a no-go area a place, as Freid put it. "at war" with the modernist sensability" This is how we explore and how eras change!! explore your limits!
im not sure why maybe because of the earyness of this photograph but it reminded me of the picture of the movie monster house
"The Scream"subtly but elaborately disconnects its own aesthetic of expression, all the while remaining imprisoned within it." by using such lush strokes and a not totally realistic painting it captures the true emotion while being trapped on a canvas.
i can not highlight because it is sideways and i can not figure out how to flip it...technology grrr... but a quote on this page i found made me think was "contemporary theory, which among other things, been committed to the mission of criticizing and discrediting this very hermeneutic model of the inside and outside of stigmatizing such models as ideological and metaphysical." I found this ties into our class discussion about how people say that they do not like contemporary art, but it is a possibility that they are not understanding it and therefore criticizing.
death exists beyond genderdivision, as does the recurrence of life, however marked both may be bytrauma.
i can not stop reading this quote i find the wording fascinating.
Powerless Structures
when they are discussing Michel Elmgreen and Ingar Dragset's "Powerless Structures" one of the instalments in the park has text reading "temporary art" i am curious to know if it was contemporary and they decided to cover that through use of the ground (site specific?)
Despite its complex structure and postmodern stylistics, this is a questnarrative, a search for belonging through places that have their own im-peratives amidst physical and social processes that are strangely subject toincessant fusion and separation, isolation and metamorphosis
woah big words. i had to read this a few times over in order to interpret but i think in itself that tells me something about what they are describing. "complex structure...search for belonging..." i think this is describing how individuals can feel about contemporary art as "too complex to understand" but that can be what the artist is conveying about our society.
when they are discussing Michel Elmgreen and Ingar Dragset's "Powerless Structures" one of the instalments in the park has text reading "temporary art" i am curious to know if it was contemporary and they decided to cover that through use of the ground (site specific?)