Lecture - The production and theoretical

Aim:


To examine the historical development of practises of institutional critique in relation to the corresponding development of the modern art gallery.


Objectives:

• To demonstrate the importance of the art museum to the rise of the bourgeois public sphere in the 19th century.
• To analyse Peter Burgers theorisation of the twin devlopment of aestheticist (formalist) art practise, and critical avant-gardism in the first three decades of the 20h century.
• To consider the post war critique of the convention of the white cube through attention to Brian O'Dohertys inside the white cube, and Michael Ashers 1974 Claire Copley Gallery installation.

Hubert Robert, Design for the Grande Galeries in the Louvre, Oil on canvas (1796)

Rise of bourgeoisie, came rise of new public art museum. A clammer to create  places of mans creations and its values in France. 

Need to rationalise shift in society - Louvre the core of this.

Eugene Delacroix, Liberty leading the people, oil painting, 1830

Marxist emerging french republic of the louvre as one of the first art museums in the world. Myth. Barthes, presented critiques on how everyday

Roland Barthes, Mythologies, 1957.

Not the consciousness of men which gives them existence but their existence which determines their consciousness. 

Colour illustration of the great exhibition of the great Exhibition at Crystal Palace, 1851

Henri Matisse, the snail

Berger identified 2 development within modernist art, aesthetes tedancy, support my theorist - clive bell, artist such as batist. Avant garde tenancy, characterised by manifestations of DADA. Avant garde tenancy to re integrate art with life. 

Emerging soviet society, artists employed in cultural development, art entered into interaction with applied practises such as Graphic design, seen as propaganda, linked with social change. 

Exhibition poster, Manet and the post impressionists, Grafton Galleries, London, 1910. 

Fry - Harmonious combination of colour, shape, formal characteristics started to be understood as emotively expressive, could stand as equivalent to artists own feelings. E.g - 'Snail'

Values developed at turn of the century century - post expressionist art

'Paul Gaugan, Where do we come from?, What are we? Where are we going?, Oil on canvas, 1897

Cover of Der Balue Reiter almanac, 1912

Art become increasingly divorced from representations of nature

CTS - seminar 'THE GAZE'

CTS - Lecture - Deleuze and Guattari and creativity

Deleuze and Guattari and creativity


Aim
To examine how Deleuze and Guattari draw emphasis to the constructed and contingent nature of social reality.


Objectives:
(1) To contrast their model of creative, "rhizomatic" thought with traditional "tree like" models of thought bases in sequential argumentation;
(2) To examine Deleuze and Fuattari's interpretations of processes of social change and development.
(3) To consider how they propose individual people might transform themselves;
(4) To contextualise these theories of change and development in relation to the concepts "the virtual" and "The actual".


'A thousand plateaus' 
Tried to re-think social change, didn't want to get to the point of overthrowing government; that change could be ongoing. 


Revolt against traditional modes of thought - to be thought of a tree like structure, to be set within the trunk, the branches representing chains of thought, the argumentation, branches link to one another.
'Risomatic thoughts' - Riso a wall plant. 


Plato - meaning a particular set of circumstances brought together in an intensive relationship.
A plant form - underground stair that grows horizontally - horizontal shoots e.g mint and ginger. 
Alternative mode of thought - against tree like structure 
Linked through leaps of association,  seeminglesly connected ideas
Principle of interrelationship 


IMAGE - Concept (signified) > Sound-Image (signifier)


Signified - mental concept, arbitrary construct, produced through na agreement of users by a given language system. Concept - Caught up in a system of language.


Concept we use in thought and speech gain their meaning in a repeated pattern of the way its signified and usage.


The Riso builds relationship between objects places people and ideas, generated commonalities. Risos are creative, produced intentionally or unintentionally. 


Isa Genzken, hospital (ground zero) 2008
Objects images and poured paint collide creating formation - future architectural construction - sense of things being held together in provisional ways. Can be taken apart and reformed in another way. Made of materials we can find in the street, shop etc. Brought together in this configuration, suggest possibility of architectural construction. Alternate possibility. Take on form of assemblage - proccesses of arrnaging, organising. 


Assemblage 


Hooide - We judge people, as do Police. Signifies and denotes a person wearing sportwear. WHat comes with it is a history of assumptions, laws, judgements. 
If these 'hoodies' were to conjugate in a trolley park, that trolley park function has been transformed, become a place of social interaction - judgements of assemblages, now separated from supermarket, people keep their distance etc. Re-teritorilisation.


State of militay slow, static to chance
Representations of Teenagers in society shift and change all the time


Ideology shapes how we see and view the world, and ourselves.

Censorship and 'Truth'

Overview
Notions of censorship and truth
The indexical qualities of photography in rendering truth
Photographic manipulation and the documentation of truth
Censorship in advertising, art and photography


Ansel Adams, 'Moonrise Hernandes New Mexico', c. 1941 - 2


'Moon over Half Dome',1960


Manipulation is not new - in above image
'Camera never lies' - Clearly it can
Manipulation in digital photography DOES happen - Whether to, or not, to 'Improve' an image.
'Original' Negative of slide
Is it the image in itself which gives it the quality, or is it the printing process.


He made countless reproductions using the same negative, through printing processes he could suggest different day times, weather etc


The idea that truth in photography (manipulation) isn't something new, has been practised for a long time using negatives.


'Five years before coming to power in the 1917 October revolution, the soviets established the newspaper Pravda....'


'Stalin with, and without, Nikolai Yezhov'


'Stalin with, and without, Trotsky'


Whats published to us isn't necessarily the truth, we are given a certain amount of truth.


http://homegame.org/news/


911 related advertisements in above link 'Flight simulator' etc Similar to Ad Busters


Kate Winslet on cover of GQ magazine, with legs elongated in photoshop.
First example of this manipulation and notions of truth. Is it affecting anyone by doing this?


'At that time (world war 2) I fervently believed just about everything, i was exposed to in school and in the meida. For example, I knew that all Germans were evil and that all Japanese were sneaky and treacherous, while all white Americans were clean-cut, honest, fair minded and trusting"
Elliot Aronson


'a deliberate and successful attempt by one person to get another by appeals fir reason to freely accept beliefs, attitudes, values, intentions, or actions.'
Tom L. Beauchamp, Manipulative Advertising


'Whereas representation tries to adsorb simulation by interpreting it as false representation, simulation envelops the whole edifice of representation as itself a simulacrum' - Baudrillard


"It is a masquerade of information: branded faces delivered over to the prostitution of the image' - Baudrillard


Baudrillard: 'The gulf war did not take place', 1995, in Poster, M
Saying it was designed to happen, for the media, took place at 6:30, ready for the news


Peter Turnley, 1991

An-My Le, Small Wars

Does it represent the harshness of war? Or is it just landscape photography.

Should we this in news? Or the more grim reality?

Censorship

The practise of policy of censoring films, letters, or publication.

Morals

Principles of behaviour in accordance to the standards of right and wrong.

'Everybody, everywhere want to modify, transform, embellish, enrich and reconstruct the world around him - to introduce into an otherwise harsh or bland existence some sort of purposeful and distorting alleviation'

Theodore Levitt, The morality of Advertising, 1970

E.g - Cadburys flake, A woman eating a chocolate bar can be related to fellatio, if one person thinks this, then probably many people do. Is it a problem?

Oliviero Toscani, United colours of Benetton advert 1992

Black child appears to have horns, white child angelic like.

Amy Adler - The folly of defining 'Serious' Art

Professor of Law at New York University

'An irreconcilable conflict between legal rules and artistic practise.'

The requirement that protected artworks have 'serious artistic balue' is the very thing contemporary and post modernism itself attempt to defy.'

Sally Mann, Candy Cigarette, 1989

Sally Mann, Immediate Family, 1984-92

Is this acceptable? Will it effect the children?

Tierney Gearon, untitled 2001

Final thoughts

Just how much should we believe the truth that is represented to us in the meida

And should we be protected form it

Is the manipulation of the truth fair game in a capitalist society

Should art sit outside censorship laws exercised in other disciplines

WHo should be protected, artist, viewer or subject?