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75 Cards in this Set
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Frederick JAMESON |
American literary critic; Marxist political analyst; reaction against established forms of high modernism; characterised by erosion of boundaries between high and low culture and PASTICHE |
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Jean BAUDRILLARD |
French sociologist. Philosopher cultural theorist, PHOTOGRAPHER; HYPERREAL & SIMULACRA; contemporary media mediated the way we experience the world through commercialised imagery |
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Jean Francois LYOTARD
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French philosopher & literary theorist; reflection & reinterpretation of the past: saw decline of METANARRATIVE; characterised by ECLECTICISM, critique of preestablished rules & categories |
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Roland BARTHES |
French literary theorist & philosopher; linguist, semiotician; DEATH OF THE AUTHOR, power shifts from author/origins to audience experience |
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Jacques DERRIDA |
French philosopher; DECONSTRUCTION; semiotic analysis & multilayered meanings; BINARY OPPOSITES, no such thing as 'ultimate object'; search for 'essential reality' or 'origin' or 'truth' is futile |
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ECLECTICISM/PLURALISM |
Mixing of styles, referencing multiple genres, time periods, cultures within one artwork/design; JEAN FRANCOIS LYOTARD |
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APPROPRIATION |
Including/referencing/critiquing/celebrating artworks by others as part of own artwork; objects/images/texts lifted from original context & placed within a new context and so charged with new significance |
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DECONSTRUCTION |
Means of interpretation which recognises a work can be multilayered; through dismantling of these layers a variety of interpretations possible; exposes selfcontradictions and constructed origins of truth; JACQUES DERRIDA |
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SIMULACRA |
Representation precedes & determines the real; no longer any distinction between reality & it's representation; illusionary/imitative image which can supplant reality; simulates something without having the substance of meaning of the original; JEAN BAUDRILLARD |
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DEATH OF THE AUTHOR |
Shatters modernist notions of authority & knowledge building; author is displaced as absolute authority & positions reader as interpreter of text where they can develop meaning; ROLAND BARTHES |
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HYPERREAL |
Fantastical creations of media, film & computer technologies: more real than real; JEAN BAUDRILLARD |
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DECLINE OF METANARRATIVE |
Grand narratives fractured & replaced with alternative voices; totalising & seemingly given or natural cultural narratives that reinforce power structures are questioned |
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IDENTITY POLITICS |
Using signs of a particular identity (gender/sexuality/race bias) to emphasise & critique the universality/metanarratives of the modernist Western Art canon |
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PASTICHE |
Ironic imitation of other styles & artists work; could be created as an homage or as a gentle parody; exaggerated parody that DOES NOT reflect the style of the original work; shows some respect to the original; playful imitation of 'style' in a broader sense than necessarily a particular artwork |
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PARODY |
Imitative work created to mock comment on or trivialise an original work, style or subject through humorous, satirical or ironic imitation; techniques: caricature, substitution, addition, subtraction, exaggeration, condensation, unlikely contrast, discrepancy; playful imitation but MORE AGGRESSIVE THAN PASTICHE |
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KITSCH |
Worthless, tasteless imitation of a style of art, superficial, often sentimentalised |
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INSTITUTIONAL CRITIQUE |
Artistic practice that reflects critically on its own place within galleries & museums and on the concept and social function of art itself; critical intersection of art works, artists & the museum; questioning universal truths & grand narratives fostered organisation practices, codes & value systems |
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REPRESENTATION |
Power and poststructuralist critique; hyperreal vs real vs surreal (fiction of the real); a critique of representation to challenge Modernist notions of authority in presenting truth (as in critique of Abstraction, of photography, of simulacra) (Craig Owens; Jean Baudrillard) |
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REALISM
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Based upon works that 'showed' reality; strongly allied to the notion of 'truth' and the art historical concept of 'truth to nature'; everyday subjects & readily observable situations; indexical & evidence of trace 'something was here'; technology changes the way we perceive the 'real' |
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HYPERREALISM |
Break from the tenants of realism & surrealism; founded upon ideas of pure simulation & simulacra; replacing the real with the fictional substitute; exceeds photorealism; refuses simple relations between images & what they represent |
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Symbolic Exchange |
Jean BAUDRILLARD : The Object Value System: an object's value is related to its sign value (what it means socially, personally, individually to the consumer) |
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Commodity Fetishism |
displaced value of the product: Jeff Koons, Sylvie Fleury & Haim Steinbach: used readymade consumer objects as a vehicle to explore commodity fetishism |
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Celebrity system |
Damien Hirst & Takashi Murakami: harnessed the power of the celebrity system to expand their reach outside the world of art into the wider world of commerce & popular culture |
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Cultural Capital |
Power & social standing achieved through cultural knowledge and concepts of taste: luxury brands have employed the 'cultural capital' associated with art to symbolically improve the status of the produce and the consumer |
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RoseLee Goldberg on Performance Art
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historical medium that challenges borders of the private/public between everyday life art; follows no rules; attention to the politics of the body; those denied access to or who disregard traditional political outlets their bodies can become site of political transformation/contestation; artists used performance to contextualize cultural racial and gendered sexual identities.
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Arjun Appadurai
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What next? Not nation states BUT ethnoscpaes mediascapes technoscapes financescapes & ideoscapes. Plurality/diversity |
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Edward Said |
ORIENTALISM (1978); his book created a genre of critical writings known as postcolonial studies/theory/discourse; orientalism refers to the imitations/depictions of the non-west cultures in the West by writers artists & designers. Has become short-hand for prejudiced views of the East held by the West.
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Factors influencing the way we view ourselves (body)
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social political scientific changes including rapid technological change victories for feminist & civil rights causes the rising world influence of societies beyond Europe & the US globalisation of economic systems ever-increasing speed of information transfer & the influence of feminist postmodern & postcolonial theories on a range of intellectual & cultural arenas. |
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Homi K. Bhaba
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Mimicry is a deconstructive practice whereby the colonized rewrite colonial discourse simultaneously turning this discourse in a hybrid. MIMICRY; HYBRIDITY. THE THIRD SPACE.
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Sex/Gender Distinction
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SEX is understood to be a natural or biological feature (based on male & female genitalia and chromosomal differences). GENDER is the cultural or learned significance of sex. Gender is the social & cultural roles personality traits and behaviours that are seen to be socially acceptable for men & women in relation to concepts of masculinity and femininity.
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Colonialism
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The process whereby the West systematically negates the non-west. Power domination assimilation erasure.The control/influence of a nation over a dependent country or people. The system or policies of control.
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‘Symbolic Exchange’ value
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BAUDRILLARD: PM consumer society is so saturated with aesthetics that art is no longer possible and that PM consumption should be understood as the consumption of signs.
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The Object Value System
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an object's value is related to its sign value (what it means socially personally individually to the consumer).
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High/Low Dichotomies
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Erosion Of Distinction Between High Culture And Mass/Popular Culture – no stark difference. Boundaries are blurred mixed parodied challenged. KITSCH is one PM strategy associated with this used by KOONS; strategy for q’s of who judges what is I good or bad taste?
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Commodity Fetishism
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MARX differentiates between ‘use’ and ‘exchange’ value where the market price value of an product derived from its demand outweighs the usefulness of the product thus commodity fetishism displaces inter-human relationships with relationships between humans and objects. KOONS uses ready-made consumer objects as a vehicle to explore this concept. |
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The Body and identity; Gender
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A primary concern in gender studies and queer theory is the manner in which gender and sexuality is discussed. Gender studies and queer theory explore issues of sexuality, power, and marginalized populations (woman as other) in history, society and culture (Judith Butler; Amelia Jones; Laura Mulvey). |
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The Body and identity; Gender
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A primary concern in gender studies and queer theory is the manner in which gender and sexuality is discussed. Gender studies and queer theory explore issues of sexuality, power, and marginalized populations (woman as other) in history, society and culture (Judith Butler; Amelia Jones; Laura Mulvey).
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Celebrity system
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Damien Hirst & Takashi Murakami - harnessed the power of the celebrity system to expand their reach outside the world of art into the wider world of commerce & popular culture.
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Consumer culture
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The critical appraisal of the production of consumption which develops around the accumulation of commodities; the modes of consumption used to create distinctions and reinforce social relationships; and, the emotional and aesthetic pleasures, the desires and dreams generated within particular sites of consumption and by consumer culture imagery (Mike Featherstone). |
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INSTITUTIONAL CRITIQUE
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Artistic practice that reflects critically on its own place within galleries & museums and on the concept and social function of art itself; critical intersection of art works, artists & the museum; questioning universal truths & grand narratives fostered organisation practices, codes & value systems
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DECONSTRUCTION
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Means of interpretation which recognises a work can be multi-layered; through dismantling of these layers a variety of interpretations possible; exposes self-contradictions and constructed origins of truth; JACQUES DERRIDA
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REPRESENTATION |
Power and poststructuralist critique; hyperreal vs real vs surreal (fiction of the real); A critique of representation to challenge Modernist notions of authority in presenting truth (as in critique of Abstraction, of photography, of simulacra) (Craig Owens; Jean Baudrillard).
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POSTMODERN CONSUMERISM
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According to JAMESON postmodern society is bound up with consumer culture as an indicator of culture. Commodities within consumer culture take on an aesthetic dimension. What we consume is less about the thing itself than the abstract idea or image. |
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REALISM
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Based upon works that 'showed' reality; strongly allied to the notion of 'truth' and the art historical concept of 'truth to nature'; everyday subjects & readily observable situations; indexical & evidence of trace - 'something was here'; technology changes the way we perceive the 'real' |
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DEATH OF THE AUTHOR
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Shatters modernist notions of authority & knowledge building; author is displaced as absolute authority & positions reader as interpreter of text where they can develop meaning; opens way for appropriation of prior imagery; q’s originality; q’s authority & genius of artist; ROLAND BARTHES |
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Post Colonial Theory |
Explores the experience of suppression, resistance, race, gender, representation, difference, displacement & migration to the Western discourse of history, philosophy, science and linguistics. |
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Decline of metanarrative
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Grand narratives fractured & replaced with alternative voices; totalising & seemingly given or natural cultural narratives that reinforce power structures are questioned |
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Grand Narrative
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tells us how to behave, how to think about the world;
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Metanarrative
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it feeds itself; these are myths that tell us how the act within society; Totalising myths; we accept the Grand Narrative, we don’t notice, nor critique, seem natural, natural law. Both indoctrinates and teaches.
After LYOTARD artists took on role of highlighting their biases; pick them apart. |
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PARODY
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Imitative work created to mock comment on or trivialise an original work, style or subject through humorous, satirical or ironic imitation; techniques: caricature, substitution, addition, subtraction, exaggeration, condensation, unlikely contrast, discrepancy; playful imitation but MORE AGGRESSIVE THAN PASTICHE
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Essentialism
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This term is used when claims about a group’s identity are based on the notion that the shared qualities are natural or based on biology. Underlying foundation of bias and stereotyping.
Motivated opposition is anti-essentialism – contemporary idea of diversity. You are unique and diverse. |
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Self-Reflexivity
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Making clear or visible the structural or referential points in the construction of a work |
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Diversity
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Awareness of diversity contrasts strongly with essentialism. Identity is formed within a complex matrix of many variables, including gender, sexuality, ethnicity, class, religion, community and nation – thus it is diverse.
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KITSCH
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Worthless, tasteless imitation of a style of art, superficial, often sentimentalised |
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Cultural Essentialism
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is to assume behaviours/customs relating to a particular culture are bad or less civil or less modern or are unchangeable because these behaviours or attitudes are perceived as natural to that culture.
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Gender Essentialism
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Example: the idea that has been put forward that woman are naturally suited to nurturing roles or should bear children. It is an attitude of Gender Essentialism that most feminists would resist today.
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Body Politics
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Aims to analyse and contest the powers that regulate the human body at the same time that it seeks to alleviate the oppressive effects of institutional and interpersonal power on those whose bodies are marked as inferior or who have been denied the rights to control their own bodies. Strategies used to contest the power structures of the body politic.
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Body Politic
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A metaphor for the people of a nation or state to be considered as one group. These are the external govt. political institutional and corporate forces/powers the impact upon bodies. Powers in society that have control over me as an individual.
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The Body Politic
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is an institutional framework. It will have specific laws about how bodies circulate within its power structures. It controls the bodies within it. E.g. the catholic church & contraception. |
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Censorship
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Grand Narrative are inherently exclusive; exclude those things which are a threat; self-censoring; censor by assimilation; not radical/uncontrollable; brought into structure of consumerist society.
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Ownership
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myth of capitalist culture; no one can take them away for you; myth we accept ownership as a virtue. Own your own home.
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Privilege
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Grand Narrative always is biased in someone’s favour; someone is privilege by the structure of the truth; critique by exposing who is being privileged.
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CHARLES PEIRCE
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used semiotic theory to try to decode representation in three ways: |
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Hyperrealism
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A copy or image without reference to an original; An illusionary/imitative image which can supplant reality; Simulates something without having the substance or meaning of the original; Hyperreal is a system of simulation simulating itself (BAUDRILLARD)
Fantastical creations of media film & computer technologies - more real than real |
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SIMULATION (is a system of Simulacra)
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BAUDRILLARD argues that today representations (simulations) precede & shape our real life experiences;
There is no longer any distinction between reality & it's representation; simulates something without having the substance of meaning of the original; Imitation creates a copy of something that exists while simulation can create an experience of something the does not exist. More important that the simulation ‘feels real’ than accurately copies a referent outside the simulation. |
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Art and the Body
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In the postmodern period (roughly 1960 - 1990s-2000) that artists and designers have turned a spotlight on the body to express issues relating to identity especially identity defined in terms of race ethnicity gender or sexuality. Much of this effort has been undertaken in order to validate and empower groups who have historically been underrepresented.
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Simulacrum (singular) / Simulacra (plural)
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For BAUDRILLARD a simulacrum is representation that: 1. Has multiple identical copies 2. Represents something that does not exist apart form the technology used to create the representation Imitation: A copy can be evaluated by comparing it to an original e.g. Titanic film/original ship / Simulacra: No original exists outside of the simulation technology e.g. Avatar the movie has no original outside its simulation |
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Subject/object relationships
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can be read in terms of identity; relationship between the active agent and the passive object which is acted upon
BERGER; MULVEY. Male seen as active, Female passive. |
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Cultural flow
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The way culture moves through difference places |
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Hegemony
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(from ‘leader’ in Greek)Refering to a power structure;
Power that is disguised as natural or natural law i.e. ‘patriarchy’ ‘America’ ‘Coloniser’; Power of the ruling class to convince others that it’s interests are the interests of all. |
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Migration/Diaspora
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the voluntary (migration) or forced (diaspora) migration of a people from their native land.
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Ambivalence
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The ambiguous way in which the coloniser and the colonised regard each other.
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The ‘other’ - Who is othered?
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Women ‘natives’ minorities deviants subalterns now claim to speak as ‘other’.
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Alterity
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The state of being the other or the different one.
The quality of otherness. |
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Sub Altern
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SPIVAK; Alterity is not a strong enough term. Pushed aside and extermination. Systematic oppression. The other who has no voice. Dehumanised. “Other” and “less than”. Subordinated by hegemony. |
