Part 8 of Modernism in Art and Introduction. This week takes time to consider some of the important thinkers of the modern period, Marx, Benjamin, Panofsky and Adorno. By James Clegg
The final part of the course takes social housing as a case study to develop an understanding of how modernism was thought to have failed. James Clegg
Part 2 by Deborah Jackson.
Modernism in Art: An Introduction: Salon des refusesJames Clegg
This course provides a critical introduction to modernist artistic movements starting from the Salon des Refusés in 1863. It examines Impressionism, Cubism, Futurism, Constructivism, Dada and other avant-garde styles in their historical and cultural contexts. The course structure includes 11 weeks covering these movements and their influence in reshaping representations of the modern world.
Modernism in Art: An Intoduction. Picasso's exorcism: Fear of 'Primitives' a...James Clegg
The forth in a series of lecture introducing Modernism. This week focuses upon Picasso's Les Demoiselles d'Avignon, building a long context of Imperial attitudes and 'primitivism'.
This document provides an overview of several modern art movements that developed between the late 19th and mid-20th centuries, including Art Nouveau, Cubism, Surrealism, Dadaism, Fauvism, and Modernism more broadly. It describes key characteristics and influences of each movement in areas like art, sculpture, architecture, design and more. The document also includes references for further information on each movement and the history of modern art in general.
This document provides an introduction to Modernism in art. It discusses key events and ideas that influenced the development of Modernism, such as the Salon des Refusés of 1863, which represented changes in society and culture. Modernism is defined as a reaction against realism and romanticism that involved radically altered aesthetic forms and perspectives. The document also discusses how Modernism was related to but not the same as Modernity, which was influenced by industrialization. A reading list of texts about Modernism is provided.
Modernism in Art: An Introduction: Revolution and rebuilding, Constructivism...James Clegg
This document discusses several early 20th century art movements that sought to make art more socially engaged, including Russian Constructivism, De Stijl in Holland, and the Bauhaus in Germany. It provides background on key figures like Tatlin, Rodchenko, Malevich, Mondrian, van Doesburg, and Gropius who helped establish these movements. It also discusses how their utopian ideals of integrating art and design with industry and daily life were influenced by developments in scientific management and factory efficiency pioneered by Taylor and Ford.
Modernism in Art: An Introduction: 'Standing in the sumit...' Futurisms' bec...James Clegg
Lecture 5 in 'Modernism in Art: An Inroduction'. This weeks focused on Futurism, beginning with a reading of the 1909 Manifesto and discussing some of the key works associated with the group. Additionally this presentation includes a brief introduction to changes taking place in design.
Modernism emerged in the late 19th century as artists sought new styles and materials to break from historical conventions. Neo-expressionism arose in the 1970s in response to minimalism and conceptual art, bringing back traditional painting techniques. Abstract expressionism used brushstrokes and texture to convey emotion through the act of painting itself and was exemplified by artists like Pollock, Rothko, and de Kooning. Optical art exploited optical illusions through techniques like perspective illusion and chromatic tension to create the impression of movement, as seen in the works of Vasarely.
The final part of the course takes social housing as a case study to develop an understanding of how modernism was thought to have failed. James Clegg
Part 2 by Deborah Jackson.
Modernism in Art: An Introduction: Salon des refusesJames Clegg
This course provides a critical introduction to modernist artistic movements starting from the Salon des Refusés in 1863. It examines Impressionism, Cubism, Futurism, Constructivism, Dada and other avant-garde styles in their historical and cultural contexts. The course structure includes 11 weeks covering these movements and their influence in reshaping representations of the modern world.
Modernism in Art: An Intoduction. Picasso's exorcism: Fear of 'Primitives' a...James Clegg
The forth in a series of lecture introducing Modernism. This week focuses upon Picasso's Les Demoiselles d'Avignon, building a long context of Imperial attitudes and 'primitivism'.
This document provides an overview of several modern art movements that developed between the late 19th and mid-20th centuries, including Art Nouveau, Cubism, Surrealism, Dadaism, Fauvism, and Modernism more broadly. It describes key characteristics and influences of each movement in areas like art, sculpture, architecture, design and more. The document also includes references for further information on each movement and the history of modern art in general.
This document provides an introduction to Modernism in art. It discusses key events and ideas that influenced the development of Modernism, such as the Salon des Refusés of 1863, which represented changes in society and culture. Modernism is defined as a reaction against realism and romanticism that involved radically altered aesthetic forms and perspectives. The document also discusses how Modernism was related to but not the same as Modernity, which was influenced by industrialization. A reading list of texts about Modernism is provided.
Modernism in Art: An Introduction: Revolution and rebuilding, Constructivism...James Clegg
This document discusses several early 20th century art movements that sought to make art more socially engaged, including Russian Constructivism, De Stijl in Holland, and the Bauhaus in Germany. It provides background on key figures like Tatlin, Rodchenko, Malevich, Mondrian, van Doesburg, and Gropius who helped establish these movements. It also discusses how their utopian ideals of integrating art and design with industry and daily life were influenced by developments in scientific management and factory efficiency pioneered by Taylor and Ford.
Modernism in Art: An Introduction: 'Standing in the sumit...' Futurisms' bec...James Clegg
Lecture 5 in 'Modernism in Art: An Inroduction'. This weeks focused on Futurism, beginning with a reading of the 1909 Manifesto and discussing some of the key works associated with the group. Additionally this presentation includes a brief introduction to changes taking place in design.
Modernism emerged in the late 19th century as artists sought new styles and materials to break from historical conventions. Neo-expressionism arose in the 1970s in response to minimalism and conceptual art, bringing back traditional painting techniques. Abstract expressionism used brushstrokes and texture to convey emotion through the act of painting itself and was exemplified by artists like Pollock, Rothko, and de Kooning. Optical art exploited optical illusions through techniques like perspective illusion and chromatic tension to create the impression of movement, as seen in the works of Vasarely.
The document provides an overview of the major art movements in the 20th century. It discusses how modern art reflected the changing times with cameras making realistic art obsolete and mass production making art marketable. Artists valued originality over beauty and would shock audiences if they couldn't please them. Key movements discussed include Fauvism, Cubism, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. Major artists from each movement like Picasso, Kandinsky, Pollock, and Warhol are also mentioned.
Conceptual art emerged in the 1960s-1970s as a reaction against commercialized art. It prioritized ideas over traditional art objects, using images and objects to convey concepts. Influenced by Duchamp's readymades, it questioned what art is. There was no set style, and works took many forms including installations, performances, and land art. Key ideas included art being conceptual rather than material, reducing objects to minimalism, and requiring viewer participation to complete works. Prominent conceptual artists profiled include Damien Hirst, known for installations using medical and domestic items to explore death, and Tracy Emin who used autobiographical works addressing sexuality and relationships.
The Cubist art movement began in Paris around 1907 and was led by Pablo Picasso and Georges Braque. They broke from artistic tradition by rejecting single-point perspective and instead depicting subjects from multiple viewpoints simultaneously. Cubism influenced many later artists and was divided into Analytic and Synthetic phases. Major Cubist artists included Picasso, Braque, Fernand Leger, and Juan Gris.
Minimalism emerged as an art movement in the 1960s that aimed to dismantle illusionism and focus on the inherent properties of materials. Artists like Donald Judd, Carl Andre, and Dan Flavin created simple sculptures and structures using industrial materials. Around the same time, Conceptual art developed with works centered around ideas rather than aesthetic forms, inspired by Duchamp's readymades. Site-specific artworks of the period engaged with natural environments on a large scale, with works by Robert Smithson and Michael Asher sited outdoors.
Rodin was a famous sculptor in the early 20th century, but younger artists were questioning his style. They were influenced by Egyptian sculpture, primitive art from Africa and Oceania, and Cubism in painting. Some like Modigliani and Brancusi adapted primitive styles, while Picasso used Cubist principles in his constructions. Futurism celebrated movement and new materials. Dadaists like Duchamp created readymades. Constructivists like Tatlin and Gabo made non-representational works using new materials like metal and glass.
Conceptual art emerged in the mid-1960s and early 1970s as a reaction against formalism. It emphasizes ideas and concepts over the creation of traditional art objects. Conceptual artists use images, objects, and text to convey ideas and get viewers to think about the meaning and definition of art. Key figures like Joseph Kosuth, Damien Hirst, and Tracy Emin created conceptual works that pushed boundaries and provoked questions about the nature of art.
This document provides an overview of developments in art from 1960-1964, including the emergence of Pop Art in both the United States and United Kingdom. It discusses Clement Greenberg's theory of modernist painting and how artists like Roy Lichtenstein and Andy Warhol incorporated pop imagery and appropriation into their work. The document also covers the Fluxus movement, which aimed to blur boundaries between art and life through experimental performances and Happenings led by artists like Allan Kaprow and George Maciunas.
The document provides an overview of developments in art during the 1920s, including the emergence of Dada and Surrealist movements. Dadaists like Hannah Hoch used photomontage to critique post-WWI German society. The Bauhaus school was also founded during this time with the goal of uniting art and industry. In 1924, Andre Breton published the first Surrealist manifesto, advocating the exploration of unconscious thought and dream imagery. Surrealist techniques like automatism and found objects aimed to access the subconscious mind.
Modernism was a loose collection of artistic movements and styles in the early 20th century that rejected historical styles and applied ornament. It embraced abstraction and believed that design and technology could transform society. Some key aspects of Modernism included Suprematism's use of basic geometric shapes, Constructivism's view of art as an instrument for social purposes, and the Bauhaus school's goal of combining all the arts in an ideal unity.
Modern art began in the 1860s and encompassed new styles and philosophies that rejected traditions of the past. Artists experimented with new materials, techniques, and theories of how art should represent the world. Major developments included Impressionism in the late 19th century, which focused on capturing light and color, Post-Impressionism, Expressionism, Cubism, Dadaism, Surrealism, Abstract art, Pop art, and Optical art in the early-mid 20th century. These movements further rejected conventions and emphasized subjective experience, fragmented forms, and imagery from dreams.
Classical art adheres to principles established by ancient Greek and Roman master artists regarding the representation of the human form and its environment. It is usually based on religious or mythical figures, with idealized bodies in active poses. Order and harmony are emphasized over individual beauty. Neoclassical art was produced later but drew inspiration from classical works. It refers to the styles of artists like Leonardo Da Vinci and Michelangelo during the Renaissance who were influenced by ancient classical principles and rules.
KCC Art 211 Ch 23 Postwar Modern Movements In The WestKelly Parker
The document summarizes several modern art movements that emerged in the West after World War II, including Abstract Expressionism, Pop Art, Minimalism, Earth Art, Installations, and Performance Art. It provides background on influential artists such as Pollock, Rothko, Warhol, Oldenburg, Judd, Smithson, and Chicago and describes characteristics of their works.
The document discusses the emergence of Institutional Critique and Feminist Art in the early 1970s. It describes Hans Haacke's work "Manhattan Real Estate Holdings" from 1971, which critically examined the real estate holdings of wealthy individuals. This work led to Haacke's retrospective being cancelled at the Guggenheim. The document also outlines how Feminist artists like Judy Chicago and Louise Bourgeois began using the female body and sexuality as themes to critique the male gaze and biases within the modernist canon. It traces the development of Feminist Art and its goal of making "the personal political."
The document provides an overview of art history from 1911-1917, covering the development of Cubism, Dada, abstraction, and other modern art movements. It discusses key artists and works, including Picasso and Braque's experiments with Cubism, Duchamp's readymades, Malevich's suprematist paintings, and Mondrian's transition to pure abstraction through his Neoplastic style. The document also covers the origins of Dada in Zurich during World War I and Alfred Stieglitz's promotion of modernist photography in America through his journal Camera Work.
The document discusses various types of conceptual, performance, installation and new media art. It provides examples and descriptions of works by artists such as Marcel Duchamp, Sol Le Witt, Claes Oldenburg, Gordon Matta-Clark, Robert Indiana and Rachel Whiteread. It also discusses how conceptual ideas influenced the design of certain architecture like the Wexner Center and Centre Pompidou.
Conceptual art emerged as a major art movement in the 1960s and 1970s based on the idea that art can exist solely as a concept rather than a physical object. Some key figures in conceptual art include Joseph Kosuth, Yves Klein, Piero Manzoni, and Richard Long. Conceptual art was influenced by earlier artists like Marcel Duchamp who created pieces that questioned what art is.
The document discusses several art movements that emerged in the post-World War 1 years between 1919 and 1939, including Dadaism, Bauhaus, Art Deco, and early Surrealism. It provides background information on the founding principles and key figures of each movement, and highlights representative artworks produced during these periods that helped define the stylistic innovations of modernism. The art movements reflected a rejection of tradition in favor of individual expression and incorporated new techniques like collage that emerged as responses to the turmoil of the war and changing social values.
The document provides an overview of major periods in art history from prehistoric times to the modern era. It discusses characteristics and examples of art from periods including Paleolithic, Classical, Medieval, Renaissance, Baroque, Rococo, Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, Expressionism, Cubism, Surrealism, and Pop Art. It also includes short biographies and works from prominent artists such as Leonardo da Vinci, Pablo Picasso, and Andy Warhol.
Art history is the study of visual artworks and artistic styles of the past. Art historians research the historical context surrounding artworks by examining events that occurred during the time period when the work was created. They analyze physical, documentary, and visual evidence, as well as stylistic influences, to understand how history affected the artist and their style. Art history is interdisciplinary and teaches us about creative expression, other cultures, and artistic styles through history.
#HACK4DK "Sharing and exchanging avant-garde art" byTheis Valloe MadsenMeaningMakingExperience
Part of Ignite session prior to #HACK4DK 2013
Sharing and exchange can be avant-garde art. Back in the 1960s a group of American artists build a network of open data. They exchanged and co-created artworks - postcards, pictures, small objects etc. - via the mail art network by sending and receiving it by mail. The idea was to create a network of ever-changing open-ended works of art long before the internet made it part of our everyday life.
The document provides an overview of the major art movements in the 20th century. It discusses how modern art reflected the changing times with cameras making realistic art obsolete and mass production making art marketable. Artists valued originality over beauty and would shock audiences if they couldn't please them. Key movements discussed include Fauvism, Cubism, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. Major artists from each movement like Picasso, Kandinsky, Pollock, and Warhol are also mentioned.
Conceptual art emerged in the 1960s-1970s as a reaction against commercialized art. It prioritized ideas over traditional art objects, using images and objects to convey concepts. Influenced by Duchamp's readymades, it questioned what art is. There was no set style, and works took many forms including installations, performances, and land art. Key ideas included art being conceptual rather than material, reducing objects to minimalism, and requiring viewer participation to complete works. Prominent conceptual artists profiled include Damien Hirst, known for installations using medical and domestic items to explore death, and Tracy Emin who used autobiographical works addressing sexuality and relationships.
The Cubist art movement began in Paris around 1907 and was led by Pablo Picasso and Georges Braque. They broke from artistic tradition by rejecting single-point perspective and instead depicting subjects from multiple viewpoints simultaneously. Cubism influenced many later artists and was divided into Analytic and Synthetic phases. Major Cubist artists included Picasso, Braque, Fernand Leger, and Juan Gris.
Minimalism emerged as an art movement in the 1960s that aimed to dismantle illusionism and focus on the inherent properties of materials. Artists like Donald Judd, Carl Andre, and Dan Flavin created simple sculptures and structures using industrial materials. Around the same time, Conceptual art developed with works centered around ideas rather than aesthetic forms, inspired by Duchamp's readymades. Site-specific artworks of the period engaged with natural environments on a large scale, with works by Robert Smithson and Michael Asher sited outdoors.
Rodin was a famous sculptor in the early 20th century, but younger artists were questioning his style. They were influenced by Egyptian sculpture, primitive art from Africa and Oceania, and Cubism in painting. Some like Modigliani and Brancusi adapted primitive styles, while Picasso used Cubist principles in his constructions. Futurism celebrated movement and new materials. Dadaists like Duchamp created readymades. Constructivists like Tatlin and Gabo made non-representational works using new materials like metal and glass.
Conceptual art emerged in the mid-1960s and early 1970s as a reaction against formalism. It emphasizes ideas and concepts over the creation of traditional art objects. Conceptual artists use images, objects, and text to convey ideas and get viewers to think about the meaning and definition of art. Key figures like Joseph Kosuth, Damien Hirst, and Tracy Emin created conceptual works that pushed boundaries and provoked questions about the nature of art.
This document provides an overview of developments in art from 1960-1964, including the emergence of Pop Art in both the United States and United Kingdom. It discusses Clement Greenberg's theory of modernist painting and how artists like Roy Lichtenstein and Andy Warhol incorporated pop imagery and appropriation into their work. The document also covers the Fluxus movement, which aimed to blur boundaries between art and life through experimental performances and Happenings led by artists like Allan Kaprow and George Maciunas.
The document provides an overview of developments in art during the 1920s, including the emergence of Dada and Surrealist movements. Dadaists like Hannah Hoch used photomontage to critique post-WWI German society. The Bauhaus school was also founded during this time with the goal of uniting art and industry. In 1924, Andre Breton published the first Surrealist manifesto, advocating the exploration of unconscious thought and dream imagery. Surrealist techniques like automatism and found objects aimed to access the subconscious mind.
Modernism was a loose collection of artistic movements and styles in the early 20th century that rejected historical styles and applied ornament. It embraced abstraction and believed that design and technology could transform society. Some key aspects of Modernism included Suprematism's use of basic geometric shapes, Constructivism's view of art as an instrument for social purposes, and the Bauhaus school's goal of combining all the arts in an ideal unity.
Modern art began in the 1860s and encompassed new styles and philosophies that rejected traditions of the past. Artists experimented with new materials, techniques, and theories of how art should represent the world. Major developments included Impressionism in the late 19th century, which focused on capturing light and color, Post-Impressionism, Expressionism, Cubism, Dadaism, Surrealism, Abstract art, Pop art, and Optical art in the early-mid 20th century. These movements further rejected conventions and emphasized subjective experience, fragmented forms, and imagery from dreams.
Classical art adheres to principles established by ancient Greek and Roman master artists regarding the representation of the human form and its environment. It is usually based on religious or mythical figures, with idealized bodies in active poses. Order and harmony are emphasized over individual beauty. Neoclassical art was produced later but drew inspiration from classical works. It refers to the styles of artists like Leonardo Da Vinci and Michelangelo during the Renaissance who were influenced by ancient classical principles and rules.
KCC Art 211 Ch 23 Postwar Modern Movements In The WestKelly Parker
The document summarizes several modern art movements that emerged in the West after World War II, including Abstract Expressionism, Pop Art, Minimalism, Earth Art, Installations, and Performance Art. It provides background on influential artists such as Pollock, Rothko, Warhol, Oldenburg, Judd, Smithson, and Chicago and describes characteristics of their works.
The document discusses the emergence of Institutional Critique and Feminist Art in the early 1970s. It describes Hans Haacke's work "Manhattan Real Estate Holdings" from 1971, which critically examined the real estate holdings of wealthy individuals. This work led to Haacke's retrospective being cancelled at the Guggenheim. The document also outlines how Feminist artists like Judy Chicago and Louise Bourgeois began using the female body and sexuality as themes to critique the male gaze and biases within the modernist canon. It traces the development of Feminist Art and its goal of making "the personal political."
The document provides an overview of art history from 1911-1917, covering the development of Cubism, Dada, abstraction, and other modern art movements. It discusses key artists and works, including Picasso and Braque's experiments with Cubism, Duchamp's readymades, Malevich's suprematist paintings, and Mondrian's transition to pure abstraction through his Neoplastic style. The document also covers the origins of Dada in Zurich during World War I and Alfred Stieglitz's promotion of modernist photography in America through his journal Camera Work.
The document discusses various types of conceptual, performance, installation and new media art. It provides examples and descriptions of works by artists such as Marcel Duchamp, Sol Le Witt, Claes Oldenburg, Gordon Matta-Clark, Robert Indiana and Rachel Whiteread. It also discusses how conceptual ideas influenced the design of certain architecture like the Wexner Center and Centre Pompidou.
Conceptual art emerged as a major art movement in the 1960s and 1970s based on the idea that art can exist solely as a concept rather than a physical object. Some key figures in conceptual art include Joseph Kosuth, Yves Klein, Piero Manzoni, and Richard Long. Conceptual art was influenced by earlier artists like Marcel Duchamp who created pieces that questioned what art is.
The document discusses several art movements that emerged in the post-World War 1 years between 1919 and 1939, including Dadaism, Bauhaus, Art Deco, and early Surrealism. It provides background information on the founding principles and key figures of each movement, and highlights representative artworks produced during these periods that helped define the stylistic innovations of modernism. The art movements reflected a rejection of tradition in favor of individual expression and incorporated new techniques like collage that emerged as responses to the turmoil of the war and changing social values.
The document provides an overview of major periods in art history from prehistoric times to the modern era. It discusses characteristics and examples of art from periods including Paleolithic, Classical, Medieval, Renaissance, Baroque, Rococo, Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, Expressionism, Cubism, Surrealism, and Pop Art. It also includes short biographies and works from prominent artists such as Leonardo da Vinci, Pablo Picasso, and Andy Warhol.
Art history is the study of visual artworks and artistic styles of the past. Art historians research the historical context surrounding artworks by examining events that occurred during the time period when the work was created. They analyze physical, documentary, and visual evidence, as well as stylistic influences, to understand how history affected the artist and their style. Art history is interdisciplinary and teaches us about creative expression, other cultures, and artistic styles through history.
#HACK4DK "Sharing and exchanging avant-garde art" byTheis Valloe MadsenMeaningMakingExperience
Part of Ignite session prior to #HACK4DK 2013
Sharing and exchange can be avant-garde art. Back in the 1960s a group of American artists build a network of open data. They exchanged and co-created artworks - postcards, pictures, small objects etc. - via the mail art network by sending and receiving it by mail. The idea was to create a network of ever-changing open-ended works of art long before the internet made it part of our everyday life.
The document discusses different perspectives on modernism and the avant-garde in art. It contrasts progressive modernism that focused on social change with conservative modernism that embraced "art for art's sake." As the 20th century progressed, the avant-garde eroded and was seen as disconnected from social issues. Critics like Clement Greenberg argued art should be separated from social progress. The center of the western art world shifted from Paris to New York after World War 2.
Week 10 in jeopardy idealism, authenticity, universality and the avant-gardeDeborahJ
The document discusses the legacy of modernism and modernity in art and architecture. It explores how modernist ideals of universality and utopian visions failed or were co-opted by commercial interests. Contemporary artists are now revisiting and critically reflecting on modernism in an attempt to both reanimate its radical possibilities and mourn what was lost. Examples are given of artists investigating themes of consensus, collapse, and the ruins left behind by once utopian modernist projects. The influence of modernist aesthetics and ideology are also examined in relation to how they still shape our world today.
Introduction to Walter Benjamin, by David S Ferris Mariane Farias
Benjamin was born into an upper-middle class Jewish family in Berlin in 1892. He attended several schools in Berlin as a child, including the progressive boarding school in Haubinda where he came under the influence of educational reformer Gustav Wyneken. This experience sparked Benjamin's early interests in German literature and philosophy that he continued developing after returning to Berlin.
Your thinking directs your life – it forms your habits and determines your attitude and actions. When you set your mind on things above, you will make your mind a dwelling place for God.
A Power Point Presentation of some important Life Lessons to reflect upon in walking the Path to develop our Wisdom.
Please download for some animated images and background music.
Our mission is about empowerment, encouragement and creating memorable experiences. Kids & Art teams up children touched by cancer, their siblings, and caregivers with local artists.
We create a network of support by providing regular art sessions, for the child and their care circle during treatment, recovery and bereavement.
Teacher Rajes' English lesson introduces four common pets: a cat, dog, hamster, and rabbit. Each animal is simply identified with a picture and the label of its name. The short document aims to teach basic vocabulary by presenting common household pets.
This document discusses two Bible verses about God's love for the world and his plan for salvation. John 3:16 describes how God loved the world so much that he gave his only Son, Jesus, so that all who believe in him will have eternal life rather than perish. John 12:27-28 recounts Jesus expressing troubled feelings about his coming crucifixion but submitting to God's will, and a voice from heaven affirming that God will be glorified through this event.
The document discusses the importance of living life to the fullest and making the most of each moment. It emphasizes finding happiness by focusing on what you have rather than what is closed off, seeking laughter and encouragement from others, and overcoming past mistakes to build a beautiful future. The key message is to smile through difficult times, share encouragement with those who need it, and fill each moment with joy.
How Art Works: Week 3 What makes Art Different? Comparative Analysis DeborahJ
1. The document discusses theories of art history analysis proposed by Heinrich Wölfflin and Erwin Panofsky, including Wölfflin's principles of formal analysis and Panofsky's three levels of meaning in works of art.
2. It also provides guidelines for writing an art history compare/contrast essay, focusing on identifying the key attributes of the works being analyzed.
3. The roots of art history teaching involved lectures with or without visual aids, leading to the development of magic lantern slides to illustrate concepts.
Buddy bears "the art of the tolerance"for kidsnivaca2
The document discusses Buddy Bears, which are life-size fiberglass bear sculptures originally created in Berlin to promote tolerance, international understanding, and peace among nations. Each bear represents a different country. The first Buddy Bears exhibition was held in Berlin in 2002 featuring over 140 bears. The exhibits have since toured many cities worldwide. The bears teach viewers about different cultures through the artist who designs each one. Money from sold bears goes to help children in need.
How Art Works: Week 2 What is Art made of?DeborahJ
This document provides an overview of various methods used in art history, including formal analysis, connoisseurship, new art history approaches, and the concept of the art historical canon. It discusses how these methods have developed over time from traditional to revisionist approaches. Key periods and styles of art history are addressed, from antiquity through the Renaissance, 16th-17th century developments, 18th century aesthetics, 19th century empirical and idealist views, and modern/postmodern eras. Formal analysis is emphasized as the fundamental way for art historians to describe visual elements and compositions without contextual information.
This document discusses various aspects of iconology and form that can be analyzed when examining visual artworks:
1) The genre, central subject matter, setting, historical period, time of day, or particular moment depicted
2) The primary or natural subject matter versus secondary or conventional subject matter and intrinsic content
3) How the artwork uses elements like line, mass, space, light, shade, and color rather than just the literal subject matter
It provides examples of artworks to analyze using these approaches, such as paintings by Constable, Hopper, Crewdson, van Eyck, and Pollock.
The document discusses various pets and animals. It lists common pets such as dogs, cats, rabbits, hamsters, parakeets, goldfish, and turtles. It also mentions other animals including spiders, snakes, and pigeons. The document contains an exercise asking the reader to match animals with descriptions about their characteristics and habitats.
Modernism in literature by Monir Hossen Monir Hossen
This document provides an overview of modernism in literature during the early 20th century. It defines modernism as an international movement that flourished between the 1890s and 1930s, characterized by experimentation in both form and content. The document outlines some of the key dates and developments in modernist literature, including the first Futurist manifesto in 1909 and important works by Eliot, Joyce, and Proust in the 1920s. It also discusses some of the theoretical influences on modernism like Marx, Darwin, Freud, and Einstein and surveys modernist trends in other art forms such as painting, music, and architecture. Finally, the document examines some of the formal innovations of modernist poetry, novels, and narrative techniques
The document provides an overview of literary modernism in the early 20th century. It defines modernism as an international movement characterized by experimentation with form and a rejection of absolute knowledge. The document lists some key dates and developments in modernist literature, painting, music, and thought. It discusses some of the major themes, techniques, and influential figures of modernism, including a rejection of tradition, focus on individual experience, and interest in the unconscious and primitive cultures.
This document discusses postmodernism and how it reacted against modernism. Postmodernism questions scientific theories and allows for more subjectivity compared to modernism. It emphasizes inclusion, freedom, and cooperation in society. Postmodernism lacks a clear doctrine but is evident in the distinction between eras from the 1860s to 1950s and from the 1950s to present day. It advocates for inclusivity and democracy by recognizing unjust perspectives.
Iconology is the study and interpretation of symbols and images within their cultural and historical contexts. It aims to understand the deeper meanings represented in works of art beyond their literal subject matter. Key figures who developed the field include Aby Warburg, who emphasized the transmission of classical imagery over time, and Erwin Panofsky, who established a three-level method of iconographic analysis moving from basic description to cultural and historical interpretation. The systematic study of iconography flourished in 16th century Italy and was advanced in the early 20th century by Panofsky and others who brought more rigorous methodologies to the classification and interpretation of visual symbols and themes.
The document provides an overview of modernism in literature during the early 20th century. It defines modernism as an international movement marked by experimentation with form and a rejection of absolute knowledge. Some key features of modernist literature included fragmentation, ambiguity, and a focus on form over meaning. Influential thinkers like Einstein, Freud, and Jung challenged previous worldviews. Modernist works experimented with techniques like stream of consciousness, interior monologue, and nonlinear narratives. The movement influenced literature, visual arts, music and other fields in the early 1900s.
This document provides an overview of various schools of literary theory and criticism that have developed over time, including approaches such as Cambridge School, Chicago School, Deconstruction, Feminist criticism, Psychoanalytic criticism, Marxist criticism, New Criticism, New Historicism, and Structuralism. It also defines and explains key literary terms and theories used in literary analysis and interpretation.
- The Letterist International was a Paris-based collective of radical artists and theorists active between 1952-1957 that was a precursor to the Situationist International.
- Key concepts developed by the Situationists included the dérive (drifting through urban areas), psychogeography (how places impact emotions/behaviors), and détournement (subverting preexisting works).
- Guy Debord's film On the Passage of a Few Persons Through a Rather Brief Moment in Time (1959) was an early example of détournement, incorporating appropriated elements into a pseudo-documentary of the SI.
This document provides an overview of modern art movements from the late 19th century through mid-20th century. It discusses avant-garde art and how modernism developed out of this. Key characteristics of modern art included discarding traditional forms, embracing disruption, and emphasis on innovation. The document then summarizes some influential modern artists and art movements like Cubism, Dada, Surrealism, Mexican Muralists, Social Realism, and the work of Arshile Gorky. It provides context and examples for understanding the emergence and development of modern art.
This document provides an introduction to the course "Postmodernism in Art" taught at the University of Edinburgh. It discusses key concepts needed to understand postmodernism such as modernity, modernism, and Clement Greenberg's formalism. It outlines how postmodernism emerged in the 1960s through movements like Pop Art, Minimalism, and Conceptualism. The document also examines debates around defining postmodernism and discusses how postmodern art questions aspects of modernism like artistic purity and the separation of art from everyday life.
Annotated Bibliography History Of Art HistoryKelly Lipiec
This annotated bibliography provides summaries for 20 sources related to the history of art history. The sources cover topics like gender construction in art, human-animal relationships as depicted in art, the role of context and interpretation in semiotics and art history, and how literature concepts can be applied to visual art analysis. The annotations evaluate each source and how it contributes to understanding issues in art history methodology.
This document provides an overview of the history and evolution of figurative sculpture across different eras and cultures. It discusses key developments and influences in pre-historic, Greek, Gothic, Renaissance, modern Western, and Asian eras. Specific works are referenced that demonstrate dominant styles and concepts within each period, such as emphasis on philosophy in Greek sculpture, use of spirals in pieces like Venus de Milo, and emphasis on simplicity and posture in pieces like the Miroku Bosatsu statue from Japan. The document also contrasts Western and Eastern approaches to depicting the five natural elements. It examines the impact of African art on modern sculptors like Picasso and changing styles in the 20th century including Cubism.
T A D E U S Z K A N T O R R E S O U R C E P A C Kmatthawthorn
Tadeusz Kantor was a Polish theater director, painter, and scenographer born in 1915. He studied at the Academy of Fine Arts in Krakow and founded the experimental Theatre of Death in 1975. Some of his most famous productions included The Dead Class and Wielopole, Wielopole. Kantor drew influence from movements like Constructivism, Dadaism, and Informel and won numerous awards throughout his career for his avant-garde work that pushed boundaries in theater. He is still considered one of Poland's most important artists.
Abstract Expressionism emerged in the late 1940s as a radical new art movement in America that focused on formal qualities and emphasized the autonomy of art over political or social concerns; critics like Clement Greenberg championed Abstract Expressionism and formalism, arguing that art should separate itself from mass culture and popular tastes through an emphasis on formal innovation and medium-specific purity; Greenberg's theories helped establish Abstract Expressionism as the leading avant-garde movement in America and positioned it as an anti-communist symbol during the Cold War era.
This document provides an overview of postmodernism in English literature. It begins by discussing how postmodernism emerged in the mid-1980s as an area of academic study and is difficult to define as it appears across many disciplines. It then compares postmodernism to modernism, noting they both reject boundaries between high and low art forms and emphasize fragmentation. However, postmodernism differs in that it celebrates rather than laments fragmentation. The document also discusses key characteristics of postmodern literature and how it represents a break from 19th century realism similar to modernism but with a greater emphasis on parody and questioning distinctions between genres.
This document provides an introduction to conceptual art and how it challenged traditional definitions of art. Conceptual artists asserted that the idea or concept behind a work was more important than its visual form. Key figures discussed include Duchamp, Rauschenberg, Kosuth, and LeWitt. Their works emphasized ideas and language over traditional art objects. This movement coincided with a desire to question the relationship between art and politics. Overall, conceptual art marked a shift where an idea itself could be considered a work of art rather than needing a physical art object.
- Wassily Kandinsky was a pioneer of abstract art who believed color had a direct spiritual effect on viewers' souls. He experienced synesthesia, seeing colors when hearing musical notes.
- In 1910, he published Concerning the Spiritual in Art, arguing color was the most direct means for art to access the spirit. He founded the Blue Rider group to promote these ideas.
- Kandinsky's early works became increasingly abstract, culminating in the first fully non-objective paintings that depicted no recognizable objects. He believed art did not need objects to spiritually impact viewers.
- Kandinsky had a major influence on the development of abstract art in the early 20th century and promoted these
An Essay On Iconographic Analysis Relations Between The Theory Of Art And Th...Martha Brown
This document discusses Michel Foucault's engagement with art theory and his analysis of Erwin Panofsky's method of iconographic analysis. It summarizes that Foucault was influenced by Panofsky's approach of analyzing artworks through their form, theme, and cultural context. The document then provides an overview of Panofsky's methodology, distinguishing between the natural and cultural spheres and how the study of art and culture can help understand a historical moment. It analyzes Panofsky's classification of the elements of visual art forms, including form, theme, and content, and how the interplay between differentiation and continuity shapes the interpretation of artworks.
20th Century - Major Artistic & Literary Movements.pptxNirav Amreliya
The document provides an overview of major artistic and literary movements of the 20th century that shaped art, including stream of consciousness, expressionism, absurdism, surrealism, and dadaism. It discusses key figures and their works, such as Virginia Woolf using stream of consciousness, Edvard Munch's expressionist paintings, plays by Eugène Ionesco exemplifying absurdism, André Breton founding the surrealist movement, and Hugo Ball establishing the Dada movement with sound poems. The document concludes by noting how art and design are influenced by politics and society.
An Iterative Story determined by readers votes.
Mugwhah is the story of a witch, but a story that twists and turns as reader's decide what happens next. Come and get involved.
If a modernist, a postmodernist and an altermodernist were set the same creative tasks at art college what would the results be? A play on Nicolas Bourriaud's concept, by James Clegg
'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
A lecture exploring the phrase 'how to do things with words'. Full of creative ideas and theoretical perspectives the presentation aims to provide a platform from which people can think about their own creative or art writing. James Clegg
Modernism in Art: An Introduction; Dada and SurrealismJames Clegg
The document provides an overview of the Dada and Surrealist art movements that emerged in the early 20th century in response to World War I. It discusses key Dada and Surrealist artists like Malevich, Arp, Duchamp, Ernst, and Dali. It also summarizes some of the main ideas and techniques of these movements, such as using shock, nonsense, and irrationality to protest war and established institutions. Dada in particular questioned notions of art, originality, and the role of the artist. Surrealism explored ideas of chance, the unconscious mind, and psychic automatism. Both movements had a significant impact on modern art and cultural production.
How to Write a Good Essay (on Visual Culture)James Clegg
This document discusses how to write an introduction for an essay analyzing the work of artist Sarah Lucas and how she challenged conventional approaches to gender. The introduction would:
1) State that the purpose is to understand how Lucas overturned gender norms in art
2) Provide context on Lucas' rejection of theoretical aesthetics and embrace of popular culture
3) Explain that the impact on gender will be analyzed through critics like John Roberts and Lucas' own works
Originality And The Apparatus Of OriginalityJames Clegg
The document discusses originality and individuality in portraiture. It explores how portraits aim to represent the unique subjectivity and essence of the person portrayed. However, it argues that this illusion of uniqueness falls apart when the semiotic unity between signifier and signified is challenged. As reproductions of portraits became more common and widespread through new technologies like photography, television, and the Internet, it became harder to assert the absolute meaning and individuality supposedly captured in a portrait. This in turn relates to larger shifts in concepts of identity and subjectivity in the modern era.
This document discusses the concept of enculturating the everyday through various artistic and cultural forms. It explores how everyday life has been made visible through photography, film, literature and other mediums. This establishes a relationship between representation and appropriate subjects, privileging descriptive information over narrative. Everyday life is also influenced by how we see and experience spaces like cities, as well as mundane activities. References are provided on related topics like the practices of everyday life, material culture, and aesthetics of the ordinary.
The document discusses various concepts related to narrative theory, including binary oppositions, levels of narrative, and frames. It examines how some films by David Lynch seem to contradict common assumptions about causality, linearity, and character identity in narratives. The document also discusses the concepts of multiplicity, becoming, simulation, and rupturing narratives. It provides examples of artworks that demonstrate these concepts, challenging traditional understandings of narratives.
The document discusses how narratives center around representations of people but that objects and spaces can also take on representational roles that influence the significance of people's actions and engage the imagination. It provides examples of how objects can become extensions of people's bodies or take on human-like qualities from anthropomorphic representations. Spaces are also discussed as having narrative potential when imbued with human associations or meanings related to identity, comfort, and fear. The document argues that considering objects and spaces can provide new perspectives for understanding narratives.
White Cube, Intitutions, Validation And ElitismJames Clegg
This document discusses the history and evolution of art museum spaces and galleries. It describes how early museums and galleries featured antiseptic, laboratory-like spaces intended to isolate artworks from their social contexts. Over time, postmodern galleries incorporated more open floor plans and integrated art with its surroundings. The document also examines how museum and gallery spaces can validate and elite certain types of art while obscuring the social conditions that produced the artworks.
Offering a very basic introduction to Globalization, this presentation seeks to re-frame previous discussions on Postmodernism within a broader political and social context.
Subjectivity And Identity Self AwarenessJames Clegg
Focusing upon the body of art that was considered oppostional, by Hal Foster and other influential critics, we consider the possibility of critically engaging with the culture of late capitalism. Featured artists include Jenny Holzer, Barbara Kruger and Sherrie Levine.
New Voices, Postmodernism's Focus On The MarginalisedJames Clegg
The document discusses how postmodernism focuses on marginalized groups and identities through examining concepts like authenticity, essentialism, and the historical construction of categories. It explores how notions of primitiveness, femininity, and homosexuality have been shaped by power structures over time to exclude or otherize certain communities. Postmodernism questions grand narratives and truths by deconstructing dominant representations and knowledge production.
This document provides an overview of postmodernism in art, focusing on pop art and its critique of consumer culture from the 1960s onward. It discusses key pop artists like Andy Warhol and Roy Lichtenstein who drew from advertising and mass media images. The concept of the simulacrum is also introduced through the works of Baudrillard, where images and replicas lose their connection to reality. The document traces the development of postmodern thought and how it challenged modernist ideas about progress and historical narratives in art.
From Idea To Concept, Environment, Performance And InstallationJames Clegg
Continuing to look at the fall-out from modernism, this week we explore land-art, performance and installation. Specific emphasis is placed upon the work of Robert Smithson and Ana Mendieta.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
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Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Reimagining Your Library Space: How to Increase the Vibes in Your Library No ...Diana Rendina
Librarians are leading the way in creating future-ready citizens – now we need to update our spaces to match. In this session, attendees will get inspiration for transforming their library spaces. You’ll learn how to survey students and patrons, create a focus group, and use design thinking to brainstorm ideas for your space. We’ll discuss budget friendly ways to change your space as well as how to find funding. No matter where you’re at, you’ll find ideas for reimagining your space in this session.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
10. For Max and Benjamin please go to: http://www.slideshare.net/DeborahJ/reflections-of-a-modern-world-an-introduction-to-some-key-thinkers
11. Erwin Panofsky (1892-1968) “In the history of modern art history, the primary ‘event’ is undoubtedly the work of Erwin Panofsky” (Holly 1984, p.10.)
13. Key questions for Art Historians Can artworks be judged objectively? How much can we understand about a time period by looking at individual works of art? What methods should we use when studying art?
15. Iconology Edited from Wikipedia text at http://en.wikipedia.org/wiki/Erwin_Panofsky . Primary or Natural Subject Matter (Pre-Iconographic): The most basic level of understanding, this stratum consists of perception of the work’s pure form. (For example, The Last Supper. If we stopped at this first stratum, such a picture could only be perceived as a painting of 13 men seated at a table. This first level is the most basic understanding of a work, devoid of any added cultural knowledge.) Secondary or Conventional subject matter (Iconography): This stratum goes a step further and brings to the equation cultural knowledge. (For example, a western viewer would understand that the painting of 13 men around a table would represent The Last Supper. Similarly, seeing a representation of a haloed man with a lion could be interpreted as a depiction of St. Jerome.) Tertiary or Intrinsic Meaning or Content (Iconology): This level takes into account personal, technical, and cultural history into the understanding of a work. It looks at art not as an isolated incident, but as the product of a historical environment. (“Why did the artist choose to represent The Last Supper in this way?” or “Why was St. Jerome such an important saint to the patron of this work?”)
16.
17. Most art history prior to Panofsky focused on formal developments. In other words, art was thought about in relation to a particular style. Panofsky’s achievement was to shift attention to content and meaning. Although Iconology doesn’t guarantee objectivity, Panofsky himself admitted that the deeper meaning could be imposed by the theorist and tried to add his own “correctives” (checks against source material of the time), it does open individual artworks to discussions of broader cultural influences.
18. Panofsky paved the way for Semiotics, a treatment of images as a language. Semiotic would break down images in to signs and symbols, considering the cultural conditions that allow them to mean something specific in a certain time and place. The Cultural Turn describes a range of academic movements related to postmodernism that argue that no meaning exists independently of a culture. Could Les Demoiselles d’Avignon have been produced at any other time or place?
19. Panofsky references Ferretti, Silvia (1989) Cassier, Panofsky + Warburg. USA, Yale University. Holly, Michael Ann (1984) Panofsky and the Foundations of Art History. London, Cornell University Press. Murray, Chris (2003) Key Writers on Art: The Twentieth Century. London, Routledge. Panofsky, Erwin (1972 [1939]) Studies in Iconology: Humanistic Themes in the Art of the Renaissance. USA, Icon. Panofsky, Erwin (1955) Meaning in the Visual Arts. New York, Doubleday Anchor Books.
21. Frankfurt School The Frankfurt School refers to a group of very influential thinkers who pursued a critical re-evaluation of Marxism, primary attached to the Institute or Social Research and the University of Frankfurt. Its members include Max Horkheimer, Herbert Marcuse, Erich Fromm and Theodor Adorno. Later Adorno’s student Jurgen Harbermas would become very influential and direct the school. Also associated with the school was Walter Benjamin.
22. On Marx: Adorno used some of the ideas refined in Marx’s work, such as the division of labour. Marx suggested that social division of labour – divisions between different groups of people as part of social control and exploitation – was often ideologically hidden under the guise of technical division of labour – certain people have to do certain things because that’s where their skills lie. Although Adorno’s writing can suggest that he was more supportive of Autonomous Art (High Art) over popular culture he still stove to understand the underlying social and economic basis for them. Like many thinkers associated with the Frankfurt School, Adorno did not subscribe to the Marxian Grand Narrative that capitalism is a step on the way to greater liberation. In fact, rather than seeing the Bourgeois loosing their grip, Adorno thought that the ‘Culture Industry’ was extending social control and people’s passivity.
23. Social Control Adorno’s father was of Jewish decent and when the Nazi’s came to power he, like all other Jewish professors, had to give up his teaching position. He moved to Oxford, USA, in 1933. (He would return to Frankfurt in 1949.) Anti-Semitism became a model for how Adorno felt authority operated in all cases. Regimes strive for universal control and in so doing exaggerate differences between people to an alarming degree, seeking to remove anything that is taken to be ‘other’. Studying the anti Jewish propaganda of the time Adorno saw that authority extended its power by appealing to subliminal appetites, the unthinking mind, and were often Illogical and incoherent on the surface. For Adorno, Fascism was a key example of the development of the modern world, not a freak occurrence.
25. Because of his believe in the Authoritarian nature of the Culture Industry Adorno fundamentally disagreed with Benjamin's optimism in Mechanical Reproduction. Far from dissipating the aura of Art works, Adorno felt that mass-reproduction in fact extended the universalising tendency of Capitalism.
26. Dialectic of Enlightenment (1944) – written with Max Horkheimer “No Universal history leads from savagery to humanitarianism, but there is one leading from the slingshot to the megaton bomb. It ends in the total menace which organised mankind poses to organized men...” (Adorno quoted in Bernstein, Adorno 2004)
27. Art? “Art [for Adorno] is the emphatic assertion of what is excluded from Enlightenments‘ instrumental rationality: the claim of sensuous particularity and rational ends.” (Ibid. P.5) Autonomous Art, as opposed to the culture industry, should be, in Adorno’s formulation, that which resuscitates a critical awareness in viewers. Adorno recognised that Autonomous Art was still part of society, i.e. Not truly autonomous and related economically to labour, but felt it still occupied a special position that nevertheless allowed it to comment on society.
28. Adorno’s work was very much based around philosophical principles, which is why it is hard to use specific examples of visual art from his own writing. As a musician and frequent music critic he was an admirer of Schoenberg, and in fact strove to find a kind of atonal-critical-writing equivalent (making his writing hard to read). However, he seemed to support Modern Art in general, seeing it as fulfilling it’s duty to break the passivity of popular culture. This has led some postmodern critics to see him as being Elitist like Clement Greenberg, but perhaps read more carefully it actually pre-empts many postmodern concerns.
34. Murray, Chris (2003) Key Writers on Art: The Twentieth Century. London, Routledge.
35. Zuidervaart, Lambert (1994) Adorno’s Aesthetic Theory. London, MIT Press.Reading: Theodor Adorno: Available at: http://www.theory.org.uk/ctr-ador.htm
Notas do Editor
Born Hanover. Moved to New York in 1933 when dismissed from Hamburg University, and eventually became an American citizen. (A lot of early work not translated).
Were we Art Historians, then we would be more interested perhaps in the distinct contributions Panofsky made in his studies of the Renaissance or Medieval art. Panofsky’s wider appeal however, comes from the broader applicability of his methodology. So influential has it been in fact that it is often quite invisible. When we looked at Picasso’s ‘La Demoiselles D’Avignon’ for example we might say that our analysis untilised the different levels of Panosky’s scheme:We identified 5 figures, and were able to take them as being female. There is a suggestion of drapery and still life. However, at this level our basic understanding of form is influenced by our familiarity with modern art so that we don’t necessarily look for its realist relationship to nature. Within the image we may also identify African masks.Within the traditional of painting we able to spot specific symbols, such as the poses of particular women as being reflections of the Venus pose used many times and suggestive of ‘purity’. The title euphemistically hints that the figures are prostitutes, leading us to remember stories perhaps of fallen women or disgrace. Nakedness is conventional in art. The colours may suggest a certain mediteranianheratage.At a deeper level, by reading more about the times and ‘primitivism’, we established that this was a summation of attitudes and fears at that time while also doubling as a radical departure for Picasso within a modern art paradigm focused upon stylistic innovation.
Adorno’s work was informed by Freud and he was particularly interested to diagnose the psycho-dynamics of modernity. In Fascism adorno felt that a sadomasochistic attitude was fostered where by you were taught to take orders and abuse from above while playing the role of the bully to those below, in a hierarchy.
For Adorno the Culture Industry, his term for mass produced popular culture, used exactly the same irrational appeals to the senses. While appealing to a more childish and playful sensibility however, Adverts reinforce the status quo. These adverts, like many, make suggestions as to how women should manage appearances. The one on the left emphases a fragile femininity, while it is the woman and not the perform who seems to be wrapped like a gift for the spectator. The one on the right shows a woman in a venus type pose. She cover’s her eyes so as not to even confront the spectator and reveal her idealised body. What Adorno saw in the attitudes fostered by advertising, as in Fascism, was a dependency. His ideas are rich in that he doesn’t think consumers are ignorant of the tricks played by advertisers or political figures, but they do come to see the situation as inevitable and see themselves and dependent upon it. [Read Stephen Cook, p.8)
The Enlightenment, characterised by thinkers like Francis Bacon and Gottfried Leibniz, was based upon the idea of liberation. Some of Bacon’s writings were almost utopian, giving the impression that Enlightenment naturally produced greater freedom. As you can see [quote] Adorno did not see it in these positive terms. Enlightenments’ connection to freedom seemed have been derailed. Moreover, Adorno felt that the Enlightenment was based upon a mythical conception of a total knowledge where everything pertains to a fact. Everything, in other words, becomes the same kind of thing – abstract information, not contested. In its striving for the Universal in this way the Enlightenment omits the specific, material conditions of life. For Adorno then, and here perhaps showing some Marxist influence, the Enlightenment actually fosters a situation where people cannot analyse the material conditions of life and knowledge while at the same time claiming to eradicate all mythic powers and religions. Superstitions are taken then to be an inherent part of Enlightenment, they are essentially fostered by a believe in a belief in a Universally higher state. Here, making Adorno himself a modernist, we see a different rendering of ‘truth’. ‘Truth’ isn’t the idealist and eternal, but is a ‘truth’ based upon a relization of one’s own social and political context: a ‘truth’ that the Culture Industry is so good at concealing under the fantasies and myths it perpetrates. The universal value of our times is money, exchange. Capitalism assumes that everything has a price and can be exchanged for something of ‘like’ value.