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