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Art Matters: Illuminating Contemporary Art
Shepparton Art Museum
2015
LECTURE 1: CONTEMPORARY ART – AN INTRODUCTION
Lecture Schedule
Drew Pettifer and Chris Bond, Melbourne Now, Installation view,
National Gallery of Victoria, 2013-14
Contact Details
Course Lecturer
Drew Pettifer
RMIT University and SAM Foundation
Email: drew.pettifer@rmit.edu.au
Web: www.slideshare.net/DrewPettifer
Brendan Huntley, Untitled (Upside-down goblets), 2010
SAM Collection
What is contemporary art?
Modern Art
Alfred Barr, Cubism and Abstract Art, 1936
Hans Haacke, MoMA Poll, 1970
Contemporary art: c.1970 to today
Maurizio Cattelan, Novecento, 1997 at the Sydney Biennale in 2008
Conceptual approaches to art
How does contemporary art practice differ
to modernist art practice?
Tracey Moffatt, Invocations # 1, 2000
SAM Collection
What is postmodernism?
Barbara Kruger, Untitled (I shop therefore I am), 1987
Benjamin Armstrong, Hold Everything Dear III, 2009
Louise Bourgeois, Avenza Revisited II, 1968-69
“aesthetic production today has become integrated into
commodity production generally”
Frederic Jameson 1991, The Cultural Logic of Late Capitalism, p. 5
Jeff Koons, Balloon Dog (Yellow), 19944-2000
Mona Lisa mug
Marc Quinn
Blood Head
1991
Sherrie Levine
After Edward Weston
1981
Appropriation
Brook Andrew, Paradise 1 (red), 2011
SAM Collection
Appropriation
Yasumasa Morimura
Vermeer Study: Looking Back (Mirror)
2008
Participation and socially engaged practice
Rirkrit Tiravanija, Workshop, 2013
Francis Alys
When faith moves mountains
2002
Maurizio Cattelan
A Perfect Day
1999
• Contemporary art begins around 1970
• Response to changing social conditions
• Break from modernist art practice
• Contemporary art no longer follows movements, but instead
embraces pluralism, openness and diversity
• Contemporary art values ideas over materials
• Contemporary art questions accepted histories
• Contemporary art techniques include referencing,
appropriation, parody, performance and irony
• Contemporary art is socially engaged and responsive
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Lecture 1 contemporary art - an introduction

Editor's Notes

  • #2: Luigi Russolo Russolo and Piatti with noise instruments 1913ARTstor CollectionARTstor Slide GallerySourceData from: University of California, San Diego
  • #23: Three-channel video installation with sound, two channels transferred from 16mm film, projected, 34 min. each; one channel on monitor, 6 min., continuous loop, edition 1/4, dimensions vary with installation. Solomon R. Guggenheim Museum, New York © Francis Alys. Source: www.guggenheim.org