23. “I can’t wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at me and say ‘Fuck off’. But after a while you can get away with things.” Damien Hirst 1990, quoted in (Stallabrass 1999, p.31)
24. Fame ≠ Good Artist/ Designer/ Craftsperson ££££££ ≠ Good Art/ Design/ Craft
25. “Hirst said that he only painted five spot paintings himself (there are about 300) because, ‘I couldn’t be fucking arsed doing it.’ He described his efforts as ’shite.’ ‘They’re shite compared to … the best person who ever painted spots for me was Rachel. She’s brilliant. Absolutely fucking brilliant. The best spot painting you can have by me is one painted by Rachel.’” Stephen Foster, Blog (2007)
40. Why not art history? ECA students are creative in lots of different ways The world is full of visual representations Traditional Art History might not help your understanding of contemporary art Studying Art History (alone) wouldn’t prepare you for being contemporary practitioners Visual Cultural Studies could include aspects of Art History, but as part of richer and broader field of study
48. Andy Warhol (1968) Brillo Box. First Exhibited in a series in the Stable Gallery, New York.
49. Clockwise from top left: Caravaggio (1602-3) Doubting Thomas. Potsdam. Jackson Pollock (1952) Blue Poles number 11. Turner, JMW (1842) Streamer in a Snowstorm. Tate London. Diego Velazquez (1656) Las Meninas. Prado Madrid
50. Andy Warhol (1968) Brillo Box. First Exhibited in a series in the Stable Gallery, New York.
54. “The feminist critique of art history began by berating the discipline for its discriminatory exclusion of women artists. This was a necessary but limited tactic. For art history as a discourse actively produces its meanings by exclusion, repression and subordination...” (Pollock 1988, p.128)
55.
56. “The modern system of art is not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old.” (Larry Shiner 2001, p.3) Gustave Courbet (1855) The Painter’s Studio
58. Criticisms of Art History Narrowness of its subject matter Concentration on individual artists Restricted methods: Style Iconography Quality Canon Dating Biography Uniformity of Curricula Ignoring social context of art Inattention to theoretical change (Fernire 1995)
60. References Fernire, Eric (ed.) (1995) Art History and Its Methods. London, Phaidon Press Ltd. Pollock, Griselda (1988) Vision and Difference. London, Routledge Shiner, Larry (2001) The Invention of Art. London, The University of Chicago Press.