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11 Cards in this Set
- Front
- Back
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Aura
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Reproductions of a traditional artwork bear only a physical resemblance to the original, lacking the aura and therefore any relation to the actual historical object
-Art has evolved in such as way that sometimes there simply is no ‘original’ Aura: created during the initial production of an artwork by the unique process the artist performs to create the art. This authenticity manifests in the object as its "aura.“ The “decay of the aura” has resulted from the changes in the way humanity has begun to create (and duplicate) art through mechanical reproduction. Walter Benjamin So, if the “sense” of a tree branch or some mountains is felt by it’s shadow, then the perception of an image is the equivalent of seeing or feeling a “sense” of the real through the image as a two dimensional object. The more reproduced or doctored an image is, the less we “sense” and the aura begins to disappear. |
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Cultural Theory
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Definition of Art evolves
Good Art resonates with Cultural Theory Eg. plays with signs, interrogates intangible forms of power Art Theory Meld Art becomes a way of practicing Theory Theory becomes a way practising art Art/Theory Meld – blending of art and theorization of art Artworld Sometimes Misunderstands Cultural Theory One impact of French Theory was t blur the lines between art practice and theory (ART/THEORY meld) Why did some of the NA artworld turn to Cultural theory? Enlightenment notion of art was seen as dead and needed to be reinvented Art was becoming indistinguishable from commodity culture and no longer offered transcendant experiences or helped civilize us Cultural theory Based on the ideas of the French philosophers, Barth, Baudrillard, Foucalt, and Derrida . The idea is that contemplating and discussing art is a way to understand contemporary social order, power , modernity. Cultural theory thinks about the rapidly changing world , possible futures, and outline the possible moral, political and aesthetic arguments that will shape that future. , Asesthetics iare not separate from politics or philosophy. An increased emphasis on theory provides a fresh way of thinking about art. Critical Theory = Frankfurt School French Theory = Focault, Derrida, Baudrillard, etc. Cultural Theory = Umbrella term which includes critical theory and french theory among other prominent theories. |
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Feminism
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Feminism- the radical notion that women are people
Feminism influences other disiplines (ex. art history and sociology. Feminism is a way of THINKING, not doing. Use feminism as a way to promote issues that the mainstream disciples ignore (not just about gender but also race, social classes, etc.) |
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Visual Colonialism
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Civilizing Mission
French & Portuguese colonial doctrine that Europeans were obliged to bring their ideas/ways of life to colonized realms and assimilate Eg. 1st world vs. 3rd world; advanced vs. developing Colonize not only through force but through culture Enlightenment thinkers thought that that Europe could provide intellectual, moral cultural leadership to the world Technology Women’s rights Political systems Art Enlightenment thinkers thought that art was an instrument for civilization European colonial imperial expansion facilitated the spread of European art systems and ideologies. European culture is argued to have been an instrument of colonization Imposing European notions of Art and Aesthetics -Development of European art institutions --Disruption of pre-existing patronage structures -Devaluing of existing visual cultures Devaluing non-Western visual cultures PATTERN: Using Western art theories to evaluate non-Western art past and present. Recurring conclusion Western art is more advanced and therefore better PATTERN: Devaluing non-Western visual culture as CRAFT and not ART PATTERN: Non-western people were creative in the past (not as creative as Greeks or Renaissance) but now are not leaders or innovators in Art |
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Curator as cultural broker
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Sylvester is challanging the concept of what Okui Enwezor has done as a currator, and what it could potentially do to change how people view other cultures. He briefly touches on other curators around the world as well, but focuses on Enwezor’s “Regime” in his curatorship, aka cultural broker.
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asala
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Asala: (noun) comes from Arabic root a-s-l, meaning pure or noble descent or roots - signifies nobility of lineage
- English meaning: Authentic 1950's was the beginning of the use of asala in art world In Egypt, it developed during the peak of Nasserist nationalism - this is where art collectives (Group of Art and Life) tried to bridge gap between art and local environment spirituality and folk arts. Asala was also connected to "Egyptian Personality (or character)" - made up of: loyalty, fatalism, and an agricultural mentality. - seen as peasant qualities who were 'true Egyptian characteristics' -> this theme motivated artists subject matter in artwork - popular urban locations and residents are used to represent Egyptian authenticity as well |
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Marco Polo Symdrome
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Perceives whatever is different as a carrier of life-threatening viruses rather than as nutritional benefit
Dominant Euro-centrism is the main symptom of the disease The idea of what is art has been imposed on other cultures, replacing other types of production Marco Polo syndrome references from a symposium held in Berlin in 1995, on the problems of intercultural communicaitons is art theory and curatorial practice. Also seen in the Habana Biennale in 1986 a Cuban artist installation called El Sindrome de Marco Polo about a comic book character who went to China and was unable to bridge the inter cultural gab because of his suspicious nature. The syndrom goes back to the idea that art itself is an autonomous activity based on aesthetics, yet it is also an exported idea. Perceives whatever is different as bad or virus like and dominant Euro-centrism is the main symptom of the disease. The exported idea of what is art has disrupted the aesthetic tradition of other cultures who had other reasons for producing works, such as religious, commemorative or decorative . |
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World Art History
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Theoretical ways in which art history can move towards “world” art history
Remaining essentially unchanged Simplifies current scholarship on globalism and multiculturalism by assuming that its flexibility will allow it to reform itself in any new context. Redefining and adjusting working concepts to better fit non-Western art This is the approach taken by Summer’s in “Real Spaces”. It forces terms to be used too generally, not allowing them relay a more complete understanding. Leaving Western conceptual words aside and using terms in use by non-Western cultures This would involve too many unfamiliar terms, making the text feel like its no longer art history. “When the fundamental critical terms are non-Western the work can appear to lose its conceptual, cultural, and disciplinary foundation” Rejecting both western terms and interpretive models and concepts This is a more radical version of the last approach. It is also the most promising plan, but also the most intellectually difficult. The discipline of art history will disappear This option is a current idea in discussions of visual studies or visual culture. |
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Transnationalism
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In each of these physical domains he and his work have been reconfigured, inspiring new ways of depicting the land he vacated: Tibet. A new type of analysis is required in order to chart such transnational dimensions in contemporary art, one which acknowledges that artists are subject to influences well beyond the places they physically inhabit and which gives due prominence to imaginative territories. However, this case study also notes the persistence of 'location' as a determining factor in interpretation and reception.
•Explores the theme of 'Location', including transatlantic exchanges and global connections, and the nature of hospitality that arises in acknowledging migration and diaspora •Questions how important location is in producing, understanding and curating art. •Contributors consider such topics as site-specificity, examinations of the trans-national/trans-cultural, how images/visual forms migrate, and the repositioning of ownership |
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cosmopolotianism
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sense of world citizenship
someone who can appreciate what it feels like to be Other. “Otherness” is readily made into an item for sale and thus largely neutralized. Cosmopolitanism stands against nationalism and regionalism, against particular and parochial interests, and would seem to facilitate such exchanges. Defn: free from local, provincial, or national ideas, prejudices, or attachments; at home all over the world. |
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decentering
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How to write and think about Modern Art
Represented by Art Since 1900 Focus on Europe Centre-Periphery Modern Art should be seen as a global phenomenon Developing World artists use Modern Art concepts and vocabularies for different locally driven ends Use concepts like exchange, hybridity, resistance, discrepant cosmopolitanism to frame topic Transform the ways we write about Modern art, who we include, and how we assess its importance |
