Lecture, 1990-2003
Download as PPT, PDF1 like729 views
This document discusses art from 1990 to 2003 and how artists reflected on history by returning to traditional forms and revising modernist tenets through identity politics. It examines issues of race, portraiture, drawing, new media, and photography. Key artists mentioned include Jeff Wall, Yinka Shonibare, Adrian Piper, Carrie Mae Weems, Roy DeCarava, Lorna Simpson, Kara Walker, William Kentridge, Bill Viola, and Sam Taylor-Wood.
Lecture, 1990-2003
- 1. Contemporary Issues 1990 - 2003 Jeff Wall, Picture for Women, 1979
- 2. 1990 - 2003: Art Reflects on its History Yinka Shonibare Untitled 1997 • Intentional historicism Sir Godfrey Kneller, Portrait of Major • Return to traditional art forms General Joseph Sabine, ca. 1700 • Revisionist approach (identity politics, questioning tenets of modernism)
- 3. Race and its Representation • Shifting notions of the politics of identity • From essentialist and positive notions of identity (blackness, femininity, etc) to identity as a social construction • Complicates identity so that it cannot be easily categorized or stereotyped • Uses critique of documentary forms of racial representation, personal Adrian Piper, from The Mythic Being series testimonies, ambiguous 1972-76 narratives, past art forms • Photo-conceptualism
- 4. Portraits of Family Life Carrie Mae Weems, from the Kitchen Table Series, 1990 http://www.youtube.com/watch?v=pPDInpNoO50
- 5. Portraits of Community Roy DeCarava, from The Sweet Flypaper of Life, 1955
- 6. Subversive Beauty: Troubling Typologies of Black Identity Lorna Simpson, Waterbearer, 1986 Vermeer, Young Woman with a Water Jug, 1665 Ellen Gallagher, Mr. Terrific from the DeLuxe series, 2005
- 7. The Politics of Identity: The Stereotypical Grotesque Dave Chappelle, Racial Stereotype Pixies http://www.milkandcookies.com/link/48511/detail/
- 8. The Politics of Identity: The Stereotypical Grotesque Kara Walker, Camptown Ladies, 1998
- 9. The Politics of Identity: The Stereotypical Grotesque • Black-paper cutout silhouettes & projections on white gallery and museum walls • Inspired by fantasies of ante- Bellum South • Extreme caricatures of Black slaves & slave-owners • Depicts graphic subjects (sex, violence) • Revision of older art forms, the silhouette & the cyclorama Kara Walker, Camptown Ladies, 1998 http://video.pbs.org/video/1237715781/ Silhouette of George And Martha Washington
- 10. The Politics of Identity: The Stereotypical Grotesque Gettysburg Cyclorama
- 11. Disegno (Drawing) vs. Colorito (Color) Giorgione, The Tempest Michelangelo, Madonna and Child
- 12. The Odalisque: Challenging Disegno Ingres Delacroix Renoir Matisse
- 13. Drawing in the 20th Century The Matrix (grid): Abstracting the Object Mondrian Pollock The Grapheme: Abstracting the Subject Erasure: Abstracting Time Kentridge
- 14. Drawing & Time: From Deskilling to Re-skilling • Short film of animated charcoal drawings using erasure and stop-shoot technique • Felix in Exile (1994) one of many “drawings for projection” • Recurring characters & love triangle among William Kentridge, from Felix in Exile, 1994 Soho Ekstein (a mine- owner/capitalist), Felix Teitelbaum (an artist/self-portrait?), Mrs. Ekstein (wife of Ekstein) • Setting is Paris hotel room, Felix gazing into mirror at Nandi, a South African surveyor, looking back at him • The gaze • Apartheid ended in 1994
- 15. William Kentridge Felix in Exile 1994 http://www.youtube.com/watch?v=vF5cngcXqSs
- 16. Palimpsest • Linear overlay of forms • Ancient process • Allegory of memory, time, history • Kentridge’s work a Ruffignac cave drawings ca. 14,000 BCE meditation on the fate of handicraft? • Drawing as obsolete among new technologies Robert Rauschenberg Erased de Kooning 1953
- 17. New Media Bill Viola, The Crossing, 1996 • Minimalism & the “expanded field” • Extended into film and video installations • Made possible by technological advances in ’80s (projectors, etc) • Emphasis on viewer’s perception of the work in context (spectatorship), ultimately subjective • Reflects back on the viewer’s own body (sensations) immersed in a image-sound space • In many cases, activating (through movement and sound) traditional art & its subject matter (ecstasy, conversion) • Spiritual & religious meanings suggested by Viola’s work • Uses elements (fire, water) as allegories of transformation http://www.youtube.com/watch?v=fHqhaH6m9pY • The Sublime Viola, Reflecting Pool, 1977-79 http://video.google.com/videoplay?docid=-4498864086957786589#
- 18. The Sublime Douglas Gordon, 24 Hour Psycho (clip) http://www.youtube.com/watch?v=I1jkoMfPa40
- 19. Pictorial Photography Getrude Kasebier, The Sketch, ca. 1903
- 20. Pictorial Photography Sam Taylor-Wood Soliloquy I, 1998 Luca Signorelli c-type color print Lamentation Over the Dead Christ ca. 1502 Henry Wallis The Death of Chatterton ca. 1856 predella – base of an altarpiece
- 21. The Photographer of Modern Life • Digital manipulation of photograph recalls mid-19th century painting & pictorial photography • Large color transparencies set in light boxes • Shift away from documentary photography • Questions the veracity of the image • Interest in pictorial composition, size & narrative aligns it with the history of figurative painting Jeff Wall, Storyteller, 1986 • To restore or make whole again the fractured image (broken up in collage, photomontage) in avant-garde art by returning to birth of avant-garde (Manet) & photography (mid-19th century) • Shows homeless native Manet, Canadians in home town of Luncheon on Vancouver the Grass 1863 “a transgression against the institution of transgression” – Wall
- 22. Art of the 21st Century