On this blog, we will explore several major aesthetic theories from realism to postmodernism and engage in a dialogue about the very nature of art. Key contemporary artists will be explored in depth as each theory is unpacked and examined.
Each response should be between 150-250 words in length. These are due on the date listed at the top of each entry,
Sunday, November 25, 2012
Final blog post: What is that art?
After reading the last chapters in Barrett (6) and Fineberg (16), take any work of art from either text or our recent presentations and answer the question, "why is that art?" This is your last entry for the visual journal project.
The final chapter of the Barrett text refers to previous sections of the book to evaluate the reasons why Stacked by Jeff Koons is considered art. With the same evidence that Barrett uses to support this idea for Stacked, I will provide explanation as to why The Forsaken by Walton Ford is a work of art. Walton’s work is art by definition; it meets the classificatory criteria of both George Dickie and Arthur Danto. The watercolor can be considered “an artifact of a kind created to be presented to an artworld public” (Dickie). It also possesses a subject for which it projects a point of view through means of metaphorical ellipsis that “requires audience participation to fill in what is missing where both the work and the interpretation require an art-historical context” (Danto). Walton Ford allowed this work to be interpreted by the artworld. He provides the composition, which contains a fantastical scene depicting a female monkey grieving over the leave of an 18th century explorer. However, this concept is a metaphor for a deeper meaning related to colonialism. When colonizers took control of other peoples, the ones being governed were greatly affected by the culture of the dominant group. The Forsaken reveals such impact in the form of a monkey. Although the Walton Fold places the information for others to understand, effort must be done on the part of the viewer to achieve the most complete interpretation of the work. Because the painting relates meets the definitions of art, requires intraction with the viewer, and conveys significant messages of post-colonialism to the art world, The Forsaken can definitely be considered a work of art.
As Jeff Koon’s work Stacked was detailed and explained why it was a work of art, I will be doing the same with Takashi Murakami’s Miss Ko works. Miss Ko can be considered a work of art by applying and meeting the classifications of George Dickie’s and Arthur Danto’s definition of art. Beginning with criteria number 1, from Dickie’s reasoning, Takashi Murakami “is an artist…who participates with understanding in making a work of art.” Murakami studied at Tokyo University of the Arts (going first for animation, but majored in the traditional Japanese style of painting.) (2) Murakami made the Miss Ko figures, like Koon, for “an artworld public.” Murakami showcases his works in art exhibitions specifically directed for the art world.
Now, according to Danto, is works can be showcases in such exhibitions because: Miss Ko has a (1) subject—a woman, dressed in a maid’s outfit; that (2) projects an attitude or point of view—the woman is over sexualized with a welcoming gesture and smile; (3) by purposefully creating her to be represented in this stylized metaphor of sexual invitation; (4) where the viewer can look and interpret the work for themselves; (5) which can be contextualized in an art historical manner.
Murakami presents the Miss Ko works into the post-historical/contemporary art world, which according to Dickie (3) would be a “public whose members are prepared in some degree to understand this object that is presented to them.” (4) The post-historical/contemporary art worlds are recognized in the “totality of all art world systems”; and (5) this system allows for the presentation of artworks to its public. Therefore, meeting all qualifications, Takashi Murakami’s Miss Ko works are indeed works of art.
In chapter 6 of "Why is that Art?" Barrett discusses both the institutional requirements of art and the purposes of art. Institutionally, art must: 1. be created by an "understanding" artist. 2. act as an artifact presented to the public--a set of persons who are prepared to understand the object. 3. be part of the larger artworld system--"a framework for the presentation of a work of art by an artist to an artworld public."
So, does Cao Fei's video game "RMB City" deserve the label of "art?" Undoubtedly. It meets every criteria in flying colors. Fei is an educated post-modern artist with incredible skill and understanding of the world and of art (1). She uses this knowledge to create meaningful, interactive artwork that relevant in today's society (seen/used by thousands of people) (2). Her artwork is accessible to anyone with internet capability--the optimal "artworld public"--and sneakily educates people about the realities of life in China while allowing them to feel like they're relaxing.
As Cao Fei once said, "My art is a form of escapism. It is impossible for any of us to live entirely within reality." The remarkable thing about her work is that it performs this escapism function, one of the main purposes of art, while simultaneously educating viewers about the world, a contrasting purpose of art.
All these things, RMB City is not only a work of art, it is one of the best to date.
I will follow suite with the previous three posts and examine Vija Celmins' piece, "Night Sky #20," as a work of art according to Dickie and Danto's criteria. First, as Caty stated, "art must be created by an 'understanding' artist." Vija Celmins is world renowned for her renditions of "limitless spaces," which she recreates from found photographs. With a MFA in painting from UCLA, as well as being awarded the T. MacArthur Fellowship (among many other awards and accolades), I believe qualifies her as being an "understanding" artist based on her success and the Art World's approval of her work. "Night Sky #20" was presented as an artifact to the public at the Kunstmuseum Winterthu in 2001, to an audience of persons prepared to understand the work. This checks off the second criteria for a work of art according to Dickie. The third criteria, being apart of the larger artworld system, is applicable because her works have been on display in many museums around the world.
"Night Sky #20" also fits Danto's criteria for being a work of art. (1) subject - a dark and very starry night. (2) projects a point of view - with the incredible depth that Celmins is able to render in her paintings, as well as the painting going all the way to the edge of the canvas and seemingly being never ending, it is apparent that she believes that the earth, and humans, are just a microscopic portion of the universe as a whole. Ideas of meditation and self reflection are also present in her works. (3) the subject of the work acts a metaphor for larger philosophical questions like the meaning or purpose of life. (4) The viewer is invited to interpret the work for themselves by taking their own life experiences through an exploration of Clemins' "Night Sky #20". (5) the work finds itself in the larger art historical context by being apart of the contemporary art movement.
Chapter 6 in Barrett concludes the preceding chapters. Her tries to solidify opinions and contradictions of disagreements, ambiguities, and unresolved problems. He bring some new reviews for Koons Stacked, raising the questions about recent art that does not meet the expectations of what art should be. He them brings closure to an open and ongoing discussion of what is art and what it is supposed to be. Mark Rothko is an artist. He said, “to us art is an adventure into an unknown world which can be explored only by those willing to take risks…I think of my paintings as dramas.” As Danto defines art, Rothko is an artist because/if: 1. He has a subject 2. About which work projects an attitude or point of view 3. By means of rhetorical ellipsis 4. Which ellipsis requires audience participation to fill in what is missing 5. Where both the work and the interpretation require an art-historical context This book gave me a very clear understanding of postmodern art. It gave me a foundation of theories that I did not know existed. I am thankful for the information I now know.
Kara Walker, a successful and prominent contemporary artist, is famous for her large-scale narratives made distinctively from black paper silhouettes. These panoramic works couple graphic imagery with romantic settings and cartoon-like characters to comment on issues of race, power, and identity. Historically silhouette cutting was considered a craft, popular during the Victorian Era. The history and perception of silhouette cutting as a craft questions whether or not Walker's works, such as Gone: An Historical Romance of a Civil War as it Occurred Between the Dusky Thighs of One Young Negress and Her Heart (1994), are art. According to Arthur Danto works of art must adhere to certain criteria: 1. X has a subject 2. About which X projects an attitude or point of view 3. By means of rhetorical (usually metaphorical) ellipsis 4. Which ellipsis requires audience participation to fill in what is missing (interpretation) 5. Where both the work and the interpretation require an art-historical context
Gone: An Historical Romance of a Civil War as it Occurred Between the Dusky Thighs of One Young Negress and Her Heart follows all of these criteria. The subject is a slave narrative that takes place in the Antebellum South. This subject comments on issues of power and race, using dark humor to emphasize the unequal power dynamics between African-Americans and Whites and negative perceptions on African-Americans in the racist history of the South. Walker’s work is known for being very graphic, such as the headless figures looking on at a young slave girl fellating a young boy, a boy strangling a duck, and another slave floating through the air by his enlarges, balloon-like genitals. Walker wants her work to engage the viewer and create a connection with its audience whereby dialogue about the issues she presents takes place. This work also requires knowledge about race relations and slavery during the Civil War era in order to understand the meanings behind her work. Walker’s work addresses present social issues and engages her viewers through very unique and powerful art.
Examining Cai Guo-Qiang’s Tiger and Eagle through the classificatory requirements presented by both Dickie and Danto, this drawing that utilizes gunpowder as a medium reveals itself to be a work of art. In regards to fulfilling the definition set forth by George Dickie, Cai is definitely an artist who participates with understanding in making a work of art. His intention as an artist is evident through the subsequent presentation of his creations to the artworld public. Cai’s work also fulfills the requirements of Danto. Tiger and Eagle, while slightly abstracted, possesses a subject rendered in gunpowder. It is through this choice in medium that Cai aptly captures the danger and power of his subject. Cai draws from traditional Chinese imagery and tradition and by combining these two elements, creates dynamic and contemplative works. Due to the abstraction of the subject, Tiger and Eagle also invites the viewer to interpret the work and fill it with meaning. On all levels, Tiger and Eagle fits the definition of a work of art. By then delving deeper into the influences, method, and culture of the artist and the time period this work was created in – the meanings and values of the work can be revealed.
Barret offers a formulaic means for understanding and answering "What is art?" This understanding is one rooted in the theories previously discussed both in class, and throughout the text. Th foundation of the theories,provides one with the in-depth background needed to apply this method. For analysis, I will look at Mark Bradford's work "Untitled" (2009). The artwork features the décollage and collage technique that Bradford is well recognized for, and is applied to an individual sign on display at Sikkema Jenkins & Co. in New York City. The piece meets Arthur Danto's criteria: the piece has a subject, which it projects an attitude about in a rhetorical (elliptical) manner, the viewer is able to develop on this ellipsis, and it presents an art historical perspective. The subject for this piece is text, the expression "Freedom without Love" boldly speaking to the viewer. Bradford questions language and the meaning behind the words, the words are inconsequential while the meaning they portray (not necessarily reflective of their denotation) is imperative. For this piece, one is able to interpret the work as questioning the bolded words "Freedom" and "Love." Both draw an immediate reaction from the viewer; for me this ties in with treatment the of African Americans in the 20th century, despite their emancipation from slavery in the century prior. The words could also have a romantic connotation, as it utilizes traditionally romantic colored paints to build layers and dimension. This is an attempt to flll the elipsis. As for an art-historical perspective, the piece has a variety of interpretations while utilizing mixed mediums to convey its message. The fact that this sign was taken from a district with a high number of minority inhabitants (South Central LA), warps it into a "mini-narrative." Thus, Bradford's work is postmodern; which the artist also defines himself as. By remembering all of the theories applicable towards art, we may uncover the meanings behind a work, interpret them for ourselves, accept the interpretation of the artist as equally valid to our own (the viewer), and continue to grow and develop into well-informed artists and critics.
The final chapter of the Barrett text refers to previous sections of the book to evaluate the reasons why Stacked by Jeff Koons is considered art. With the same evidence that Barrett uses to support this idea for Stacked, I will provide explanation as to why The Forsaken by Walton Ford is a work of art. Walton’s work is art by definition; it meets the classificatory criteria of both George Dickie and Arthur Danto. The watercolor can be considered “an artifact of a kind created to be presented to an artworld public” (Dickie). It also possesses a subject for which it projects a point of view through means of metaphorical ellipsis that “requires audience participation to fill in what is missing where both the work and the interpretation require an art-historical context” (Danto). Walton Ford allowed this work to be interpreted by the artworld. He provides the composition, which contains a fantastical scene depicting a female monkey grieving over the leave of an 18th century explorer. However, this concept is a metaphor for a deeper meaning related to colonialism. When colonizers took control of other peoples, the ones being governed were greatly affected by the culture of the dominant group. The Forsaken reveals such impact in the form of a monkey. Although the Walton Fold places the information for others to understand, effort must be done on the part of the viewer to achieve the most complete interpretation of the work. Because the painting relates meets the definitions of art, requires intraction with the viewer, and conveys significant messages of post-colonialism to the art world, The Forsaken can definitely be considered a work of art.
ReplyDeleteAs Jeff Koon’s work Stacked was detailed and explained why it was a work of art, I will be doing the same with Takashi Murakami’s Miss Ko works. Miss Ko can be considered a work of art by applying and meeting the classifications of George Dickie’s and Arthur Danto’s definition of art. Beginning with criteria number 1, from Dickie’s reasoning, Takashi Murakami “is an artist…who participates with understanding in making a work of art.” Murakami studied at Tokyo University of the Arts (going first for animation, but majored in the traditional Japanese style of painting.) (2) Murakami made the Miss Ko figures, like Koon, for “an artworld public.” Murakami showcases his works in art exhibitions specifically directed for the art world.
ReplyDeleteNow, according to Danto, is works can be showcases in such exhibitions because: Miss Ko has a (1) subject—a woman, dressed in a maid’s outfit; that (2) projects an attitude or point of view—the woman is over sexualized with a welcoming gesture and smile; (3) by purposefully creating her to be represented in this stylized metaphor of sexual invitation; (4) where the viewer can look and interpret the work for themselves; (5) which can be contextualized in an art historical manner.
Murakami presents the Miss Ko works into the post-historical/contemporary art world, which according to Dickie (3) would be a “public whose members are prepared in some degree to understand this object that is presented to them.” (4) The post-historical/contemporary art worlds are recognized in the “totality of all art world systems”; and (5) this system allows for the presentation of artworks to its public. Therefore, meeting all qualifications, Takashi Murakami’s Miss Ko works are indeed works of art.
In chapter 6 of "Why is that Art?" Barrett discusses both the institutional requirements of art and the purposes of art. Institutionally, art must: 1. be created by an "understanding" artist. 2. act as an artifact presented to the public--a set of persons who are prepared to understand the object. 3. be part of the larger artworld system--"a framework for the presentation of a work of art by an artist to an artworld public."
ReplyDeleteSo, does Cao Fei's video game "RMB City" deserve the label of "art?" Undoubtedly. It meets every criteria in flying colors.
Fei is an educated post-modern artist with incredible skill and understanding of the world and of art (1). She uses this knowledge to create meaningful, interactive artwork that relevant in today's society (seen/used by thousands of people) (2). Her artwork is accessible to anyone with internet capability--the optimal "artworld public"--and sneakily educates people about the realities of life in China while allowing them to feel like they're relaxing.
As Cao Fei once said, "My art is a form of escapism. It is impossible for any of us to live entirely within reality." The remarkable thing about her work is that it performs this escapism function, one of the main purposes of art, while simultaneously educating viewers about the world, a contrasting purpose of art.
All these things, RMB City is not only a work of art, it is one of the best to date.
I will follow suite with the previous three posts and examine Vija Celmins' piece, "Night Sky #20," as a work of art according to Dickie and Danto's criteria. First, as Caty stated, "art must be created by an 'understanding' artist." Vija Celmins is world renowned for her renditions of "limitless spaces," which she recreates from found photographs. With a MFA in painting from UCLA, as well as being awarded the T. MacArthur Fellowship (among many other awards and accolades), I believe qualifies her as being an "understanding" artist based on her success and the Art World's approval of her work. "Night Sky #20" was presented as an artifact to the public at the Kunstmuseum Winterthu in 2001, to an audience of persons prepared to understand the work. This checks off the second criteria for a work of art according to Dickie. The third criteria, being apart of the larger artworld system, is applicable because her works have been on display in many museums around the world.
ReplyDelete"Night Sky #20" also fits Danto's criteria for being a work of art. (1) subject - a dark and very starry night. (2) projects a point of view - with the incredible depth that Celmins is able to render in her paintings, as well as the painting going all the way to the edge of the canvas and seemingly being never ending, it is apparent that she believes that the earth, and humans, are just a microscopic portion of the universe as a whole. Ideas of meditation and self reflection are also present in her works. (3) the subject of the work acts a metaphor for larger philosophical questions like the meaning or purpose of life. (4) The viewer is invited to interpret the work for themselves by taking their own life experiences through an exploration of Clemins' "Night Sky #20". (5) the work finds itself in the larger art historical context by being apart of the contemporary art movement.
Chapter 6 in Barrett concludes the preceding chapters. Her tries to solidify opinions and contradictions of disagreements, ambiguities, and unresolved problems. He bring some new reviews for Koons Stacked, raising the questions about recent art that does not meet the expectations of what art should be. He them brings closure to an open and ongoing discussion of what is art and what it is supposed to be.
ReplyDeleteMark Rothko is an artist. He said, “to us art is an adventure into an unknown world which can be explored only by those willing to take risks…I think of my paintings as dramas.” As Danto defines art, Rothko is an artist because/if:
1. He has a subject
2. About which work projects an attitude or point of view
3. By means of rhetorical ellipsis
4. Which ellipsis requires audience participation to fill in what is missing
5. Where both the work and the interpretation require an art-historical context
This book gave me a very clear understanding of postmodern art. It gave me a foundation of theories that I did not know existed. I am thankful for the information I now know.
Kara Walker, a successful and prominent contemporary artist, is famous for her large-scale narratives made distinctively from black paper silhouettes. These panoramic works couple graphic imagery with romantic settings and cartoon-like characters to comment on issues of race, power, and identity. Historically silhouette cutting was considered a craft, popular during the Victorian Era. The history and perception of silhouette cutting as a craft questions whether or not Walker's works, such as Gone: An Historical Romance of a Civil War as it Occurred Between the Dusky Thighs of One Young Negress and Her Heart (1994), are art. According to Arthur Danto works of art must adhere to certain criteria:
ReplyDelete1. X has a subject
2. About which X projects an attitude or point of view
3. By means of rhetorical (usually metaphorical) ellipsis
4. Which ellipsis requires audience participation to fill in what is missing (interpretation)
5. Where both the work and the interpretation require an art-historical context
Gone: An Historical Romance of a Civil War as it Occurred Between the Dusky Thighs of One Young Negress and Her Heart follows all of these criteria. The subject is a slave narrative that takes place in the Antebellum South. This subject comments on issues of power and race, using dark humor to emphasize the unequal power dynamics between African-Americans and Whites and negative perceptions on African-Americans in the racist history of the South. Walker’s work is known for being very graphic, such as the headless figures looking on at a young slave girl fellating a young boy, a boy strangling a duck, and another slave floating through the air by his enlarges, balloon-like genitals. Walker wants her work to engage the viewer and create a connection with its audience whereby dialogue about the issues she presents takes place. This work also requires knowledge about race relations and slavery during the Civil War era in order to understand the meanings behind her work. Walker’s work addresses present social issues and engages her viewers through very unique and powerful art.
Examining Cai Guo-Qiang’s Tiger and Eagle through the classificatory requirements presented by both Dickie and Danto, this drawing that utilizes gunpowder as a medium reveals itself to be a work of art. In regards to fulfilling the definition set forth by George Dickie, Cai is definitely an artist who participates with understanding in making a work of art. His intention as an artist is evident through the subsequent presentation of his creations to the artworld public. Cai’s work also fulfills the requirements of Danto. Tiger and Eagle, while slightly abstracted, possesses a subject rendered in gunpowder. It is through this choice in medium that Cai aptly captures the danger and power of his subject. Cai draws from traditional Chinese imagery and tradition and by combining these two elements, creates dynamic and contemplative works. Due to the abstraction of the subject, Tiger and Eagle also invites the viewer to interpret the work and fill it with meaning. On all levels, Tiger and Eagle fits the definition of a work of art. By then delving deeper into the influences, method, and culture of the artist and the time period this work was created in – the meanings and values of the work can be revealed.
ReplyDeleteBarret offers a formulaic means for understanding and answering "What is art?" This understanding is one rooted in the theories previously discussed both in class, and throughout the text. Th foundation of the theories,provides one with the in-depth background needed to apply this method.
ReplyDeleteFor analysis, I will look at Mark Bradford's work "Untitled" (2009). The artwork features the décollage and collage technique that Bradford is well recognized for, and is applied to an individual sign on display at Sikkema Jenkins & Co. in New York City. The piece meets Arthur Danto's criteria: the piece has a subject, which it projects an attitude about in a rhetorical (elliptical) manner, the viewer is able to develop on this ellipsis, and it presents an art historical perspective. The subject for this piece is text, the expression "Freedom without Love" boldly speaking to the viewer. Bradford questions language and the meaning behind the words, the words are inconsequential while the meaning they portray (not necessarily reflective of their denotation) is imperative. For this piece, one is able to interpret the work as questioning the bolded words "Freedom" and "Love." Both draw an immediate reaction from the viewer; for me this ties in with treatment the of African Americans in the 20th century, despite their emancipation from slavery in the century prior. The words could also have a romantic connotation, as it utilizes traditionally romantic colored paints to build layers and dimension. This is an attempt to flll the elipsis. As for an art-historical perspective, the piece has a variety of interpretations while utilizing mixed mediums to convey its message. The fact that this sign was taken from a district with a high number of minority inhabitants (South Central LA), warps it into a "mini-narrative." Thus, Bradford's work is postmodern; which the artist also defines himself as.
By remembering all of the theories applicable towards art, we may uncover the meanings behind a work, interpret them for ourselves, accept the interpretation of the artist as equally valid to our own (the viewer), and continue to grow and develop into well-informed artists and critics.
http://sikkemajenkinsco.com/images/artwork/5056_4-mark_bradford_9690.jpg