TOPICS IN ART HISTORY

TOPICS IN ART HISTORY - TOPICS IN ART HISTORY 9/20...

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TOPICS IN ART HISTORY 9/20 jasharp@eden We’re going to examine axises of similarity between the avaunt guarde art and contemporary “unofficial” or nonconformist art. We will consider how and why these practices were considered radical. In the West, the idea of radical, avaunte gard practices is up for debate, because everything gets assimiliated by the market and authenticated by critics, journals, institutions such as this one, so radical stragies get undermined in their legitimacy as an overthrow of the system. Artists work against totalitarian institutions suppressing thing. The survey text is much more pedestrian. We’re going to look at the images and figure what was it about them that forced them to get censored. Paintings are arrested in Russia, and they are put in storage places by the police, until its status could be resolved through a civil court proceeding. Problems for artists after Stalin were complicated, and not usually resulting in trial, but people were marginalized and suppressed. The course presents the troubled way Russian art was presented and shown to the public. It wasn’t an easy culture to induce new forms of expression. The survey text is to ground the discussion – this text is for that purpose – the other readings are from two books – one is a book of documents of Russian art and that will be on reserve so you can look at the whole book, but there are no images. We’re going to be READING THESE MANIFEST!O!!!!! The work becomes alive as a difficult conversation with its public. We inherited that as a modernist ideal – draping perspectives and forced close ups, but certain Russian artists who practices the same were arrested, so we need in-depth studies for examining particular historical problems with the images. SHE WILL LECTURE PRIMARILY ON MONDAY, and then THURSDAY IS MORE DISCUSSION ORIENTED Write down a list of adjectives that he is using to describe this process – adjectives that strike you, metaphors, similies, the figurative language that he is using, and we’ll talk about that on Monday. Think about the language being used to describe this project – and the rhetorical questions, like Why did you do that? The art critic is trying to constitute a coherent public from the great diversity of Russia, so the critic’s role viewed itself as giving voice to something that could be agreed upon, but of course he’s imposing certain values in the process. What his values are, what his
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goals are. In some cases critics feel like Russians aren’t capable of understanding this art, and that they must be taught. You’re going to see this happen in the critical literature as well. Artists and the paintings themselves respond to that kind of dialogue. We can think as art from the beginning that is responsive. Art is often directed at a discussion that’s taking place, and we need to know what that discussion is. This is how we begin, by thinking about how the critic envisions his role? The artist also believes that they are
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TOPICS IN ART HISTORY - TOPICS IN ART HISTORY 9/20...

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