Context and Theoretical Studies
Thursday 26 April 2012
Sunday 25 March 2012
Task 2 The machanical age of reproduction
Keep Calm and Carry On
'Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space.'
The 'Keep Calm and Carry On' posters were produced by the British Government as a series of propaganda posters distributed throughout the country to try and give the people reassurance. Where as in todays society they have been reproduced with whatever meaning the designer wants to apply to it, these posters have then been reproduced and sold widely with a completely different purpose they were initially intended for.
'During long periods of history, the mode of human sense perception changes'
This means that in today's modern society there is no need for these posters to give reassurance to people and changing its content completely changes the aura of the work of art into something else with a different meaning. Reproducing the poster in so many different variations also decreases the original value of the poster and this detaches its original meaning into something new and unoriginal.
'They brush aside a number of outmoded concepts, such as creativity and genius, eternal value and mystery'
Taking the design elements from the original poster and then applying it to pointless british things is not original or creative, to make things worse they have also reproduced it in various media due to new technologies so unlike the original piece, designers are now able to apply the design to even more pointless everyday items like mobile phones covers...
New technologies have allowed these posters to be easily reproduced by most people allowing them to interpret it in anyway they like, which gives people the freedom to apply it across any media and in anyway they want. The problem with this is it looses the posters original value and meaning to the point where they are interpreted completely differently to what the government intended them during the war.
Saturday 24 March 2012
Lecture 9 - Censorship and the Truth
Thursday 2nd February
Lecture 9: 'Censorship and
Truth'
This
lecture looks at notions of censorship and truth, photographic manipulation and
how much truth we're allowed
to see.
Photography
has indexical qualities; it represents a scene and something that actually happened.
There's cliches like the camera never lies'.
In analogue
photography there is an original image which physically exists {in the form of
a negative). We like to think that images made like this have more truth to them than digital images.
Ansel
Adams work is a good example to show that this is not necessarily the case.
Arguably, the 'magic' in Adams' images comes from darkroom manipulation. From one negative he could
suggest different times of day / different weather conditions. He deliberately
published more than one version of some image from the same negatives to show the
manipulation that was being done. The manipulation of photographs isn't something new
which has come in with digital photography.
There
are images of Stalin from which Yezhov and Trotsky have been edited out when they have fallen out of favour.
A few
days after 9/11 a doctored image appeared of someone standing on top of towers posing for a
tourist style snap as one of the planes flies towards them.
Kate
Winslet's legs were famously lengthened for a GQ magazine cover. This was one
of the first cases in which attention had been drawn to image alteration and it
caused a scandal
There
have also been examples of newspaper images being doctored to give a different
appearance to a situation. Altering images like this seems more serious.
There has been much
discussion of whether Robert Capa's 'Death of a Loyalist Soldier' is real. It
has been decided recently that it was not staged. Is it important to know whether or not
it is real? Or is it enough just to know that deaths are happening?
Is the truth that we
read in a photograph coloured by the caption that goes with it? A caption can
appeal to your emotions to make you think / feel a certain way about an image.
Baudrillard says that simulacra have four stages:
1. It is the
reflection of a basic reality.
2.
It masks and perverts a basic reality.
3.
It masks the absence of a basic reality,
4.
It bears no relation to any reality whatever: it is rts
own pure simulacrum.'
He wrote quite a lot about the gulf war.
Peter
Turnley photographed during the gulf war. He talks about the role of the
digital journalist. Images can be shared so quickly that you can cause an
immediate response.
During the gulf war, images were mediated through newspapers and approved by the
American army so that events and situations could be hidden. Turnley feels that
you can now make a judgment which isn't imposed by the government.
Baudrillard
wrote The Gulf War Did Not Take Place'. What he was getting at with this was that it
wasn't like a real war, but something which was mediated through the press. It was a manipulated representation of a war.
Peter
Turnley has tried to show that the guff was a reafwar in which people were
dying. These types of images weren't shown to the public at the time that the
war was
on. In Our Time" - a book by Magnum includes equally graphic imagery of war.
children? She has
been criticised for photographing her children without their clothes. Can you argue
that it is different when it is a mother photographing her own children?
Tierney
Gearon s images of her children were bought by Saatchi and exhibited in the 1 Am A Camera
exhibition. Gearon has had no formal training but her images could be used to
discuss the gaze from a female perspective. There were horrified comments from a paper
at the time that the exhibition was on. It was investigated by the police who
decided to leave the images up. Gearson insists that the images are completely innocent and not staged.
Nan
Goldin's image of her friends children belly dancing was also investigated and
taken down. Should the public have the right to go and see this image if they
want to?
A
famous image of child actress Brooke Shields in which she appears naked was taken by Gary Gross
and sanctioned by her mother at the time. It was reproduced by Richard Prince and
given the title Spiritual America' which refers to the folly of values in America.
The image was later pulled from an exhibition at the Tate.
How
much should be believe what we see in the media? Should we be protected from certain things?
Where do you draw the line - where does art become obscenity?
Lecture 10 - Deleuze and Guattuvi
Lecture 10: Deleuze and Guattari, and Creativity
Oeleuze and Guattari are two thinkers who
collaborated with one another.
You
were listening to Richard Pinhas as you came in. He attended lectures by Deleuze and was
inspired by him. Patterns of repetition and configuration are central to Deleuze and Guattari's thinking.
Deleuze
was a philosopher and Guattari was psychiatrist working in France. They've been very influential
in various fields including music and sociology.
The
Paris strike in 1968 led to a reassessment of the activist in society. Deleuze
and Guattari
tried to rethink activism and change. 'A Thousand Plateaus' is worth looking at. This is available in the
library.
Deleuze
and Guattari identified a tree-like system of thought which was used by traditional thinkers.
In this system one idea must lead on to another. They then came up with an
alternative system of thought which they called rhizomatic
Deleuze
and Guattari's chapters don't build on each other and then come together at the end as you would
expect. Deleuze and Guattari suggest that you read their books in the way that
you would listen to a record - dipping in and out.
Ideas
about rhizo thought are drawn from a natural form called the same thing. The rhizo method of
thought offers a different perspective than the tree-like method.
Saussure
demonstrated that the concepts we use in thought and speech gain their meaning from repeated pattern of usage.
The
rhizo builds relationships between objects / people / places and produces unexpected connections, ft is inherency
creative.
An
artist who might be considered rhizomatic is Isa Gcnzken The work 'Hospital (Ground Zero)1
has a sense of manual production and things being held together provisionally. This
was one the proposals that the artist put forward for potential architectural forms to be built at ground
zero.
Deleuze
and Guattari discussed the notion of the assemblage. An example of an assemblage would be a
home The home is made up of things which make us feel comfortable. Our sense of home*
comes from outside the construct of the house.
When a
person graduates from high school there is a supposition of power; one person bestows knowledge upon another.
In
Bruce Nauman's 'Good Boy Bad Boy' two figures on two TV screens address the audience. The use
of T and 'you1 and 'we' and 'they' disorientates us and puts us in a role. The use of
simple language forces us to recognise power and take responsibility.
How
might you or an authority figure judge someone who is wearing a hoodie? People in hoodies
gathering outside a shopping centre are judged by people who pass by. You might
assume that they are waiting for someone, planning to buy alcohol perhaps
planning a crime. These people come together, appropriate a space and change its
function. They form an assemblage of bodies
Zaha
Hadid is an architect who tries to create assemblages. The National Museum of XXI Century Arts s&ems to flow
around the people who move through the space.
Deleuze
and Guattari say that our sense of identity is under construction. The word T
is empty and can only be appropriated by different individuals. Multiple
ideologies circulate within societies at any given time, yet some are able
to dominate because they represent class interests. There are relations of
dominance between different people.
Consider a working
day: you are expected to fulfil different roles. You might be a commuter, then
a worker and then you might come home and act out the role of parent and partner.
Each individual is buffeted around from context to context.
Schizoanalysis:
Guattari
was involved in a radical clinic called La Borde The aim was not to cure the sick but to encourage
the individual to take part in their own creation.
To Deleuze
and Guattari, Freud is a tree-like thinker. They felt that psychoanalysis was limited.
Schizoanalysis re-evaluates the role of the analyst. The patient and analyst
relocate from the couch to the kitchen or the park. They both try out roles and
try to redefine the person and their sense of who they are.
In
terms of traditional psychology, schizophrenia is seen in entirely negative
terms. It is
a breakdown of the persons sense of self. Deleuze and Guattari see
possibilities of change and rethinking of identity in the breakdown which occurs.
The
term 'the body without organs' refers to a practical process. It is a radical reduction of bodily
awareness. The term initially came from a surrealist play writer In this state there is a
loss of linguistics and you're simply engaged with your sensate awareness. There is a
loss of your sense of structure and your body should be experienced as a singular.
Deleuze
and Guattari consider that nothing is inevitable - everything is subject to
change. Think about how connotations of the words 'banker' have changed.
What we
think of as real, solid objects are actually subject to change. Everything must
be considered a construction. The construction is made up of smaller forms. The molar is what we
think of an object as being and the molecular is the forces and components which make up that object.
James Williams is a good writer on Deleuze and
Guattari*
Deleuze
and Guattari talk about the actual and the virtual The actual
refers to bodies
and the virtual refers to what they imply and how they came into existence.
Francis Bacon kept
images of cefebrifies /animals /diseases in his studio. In his paintings the actual
is the sitter (the person before him) and the virtual is all of the emotions and other elements
which make up the person before him.
We exist in relation to an ever changing and
complicated world.
Lecture 11 - Critique & production of institutions
Thursday 23rd February
Lecture 11: The Production and Critique of Institutions
Artists like Hans Haacke have been involved with
critique of the institution.
Marx
argued that under capitalism we must sell our labour as a commodity and therefore feel no
connection with the work we're doing. If you're paid by someone else to do your
labour you feel disconnected from it and this leads to alienation.
Marx
states that ideology explains our own alienation within society. We're not free
to think through our own position in the world Our life circumstances are
rooted in our material situation. Our beliefs about our situation are social
constructs.
Marx
felt that social institutions (church / school / press) played an important
role in perpetuating
ideologies.
In
post revolutionary France, new social institutions arose to reflect the new
values of France. There was a violent overthrow of French monarchical society.
The
Louvre was used to bring individuals together and make them aware that they were
part of a new society. Things which had been held apart from the general public were now thrown open for people to
see.
The
Louvre sought to denigrate the old ways of society and promote the benefits of the new order. It
helped to integrate the public into the new social structure.
Peasants
were free from absolute poverty under monarchical rule but were subject to the relative poverty of wage labour.
In the
book 'Mythologies' Roland Barthes talks about cultural prejudices which occur in things like
magazine covers. Two core terms he talks about are nature and history. Certain
beliefs seem so natural that they are unquestionable. Some natural
assumptions
have been historically constructed. An ideological assumption might bet
for example, that women
are caring and men are strong.
Marx
and Engels argue that consciousness is a social product We don't freely think or consider our
place in the world - our place in th£ world generates our
beliefs.
Tony
Bennett reads that the Great Exhibition is all about demonstrating the power and prowess of various
countries. Exhibitions like this generate a feeling of public space and public
belonging. You behave and you are av/are of your behaviour being monitored. This is
one of the core functions of this type df space according to Bennett.
Peter
Burger identified that within the art museum, exhibits speak to the individual. The
avant-garde seeks to bring together art and life, instead of them being held apart. It contests the status of
art.
In Russia art was integrated into society and was
connected with social change and usefulness.
For
Roger Fry, colour and shape (formal characteristics) started to be seen as a representation of
feelings and emotions. Works started 10 be understood as gauges for the artists own
emotions. Fry was involved in the canonism of Gaugin's practice.
Clive
Bell, a contemporary of Fry, talks about significant form (formal organisation)
in order
to provoke an emotion in the viewer. There's an attempt to engage with the emotional life of the
viewer in the gallery. The works became a vehicle for the viewer's own emotions*
Abstract art doesn't reflect social reality - it becomes an opportunity to
witness your own intellectual capabilities at play.
The
space of the public art gallery became one which was separate from the pressures of everyday
life. It is free of any means-ends relationship.
Selling
yourself into wage labour was a fundamental part of life in the earty 20th
century.
Then we have this space (the gallery) which is free from means-ends pursuit.
The sense of freedom is limited to this space, however.
Dada
was a form of anti-art It rejected convention and normality. The Dadaists believed that
perpetuation of individualism had led to the horrors of World War I The
Dada manifesto was made up of rejections of certain concepts.
Marcel
Duchamp's 'Fountain' comments on the way in which an artwork is socially displayed. Even
though the work was rejected for exhibition, the discussion of it meant that
the readymade became an accepted part of art practice. The fact that it was
rejected comments on the denial of function and everyday usefulness from the gaffery space.
There is no inherent
'otherness' which inhabits a work of art - what makes them different is what we
do with them. Duchamp is emphasising that art has become removed from practical life.
You
must institutionalise art and separate it from everyday life. Brian O'Doherty looks it social function of the gallery in
the post war era.
In the
'White Cube' gallery you get a beautiful, clean environment and a highly finished floor, bare
white walls, rectangular layout, spotlighting and works hung with a lot of space around them.
Clemet Greenberg was a key figure
in the theorisation of abstract art. When looking at works like colour fields
you could have your own, individual, visual response. You need the right kind
of de-contextualising space in order to enjoy the work.
Haacke
developed work in the 1960s to question the status of these de-con textualised
spaces which seek to be held apart from everyday life.
Michael
Asher's Clare Copley Gallery Installation' took down the partition wall between the managerial
office and the space which is usually dedicated to aesthetic
appreciation.
The work comments on the status of the gallery in America in the 1970s.
You
can see paintings leant up against the back of the room, waiting to be sold.
They seem to lose the status that they had when they were hung up for display -they say something
different to us. Their commodity status is being emphasised.
The
cultural coding of architectural forms and the expectations of the public add
to gallery complexes-
Lecture 8 - Post Modernism
Thursday 26th January
Lecture 8: Jean Baudrillard and Postmodernism
In this
lecture we are looking at Baudrillard s particular take on postmodernism. Baudrillard's position
emerges out of a Marxist critique of capitalism
Baudrillard
wrote 'The System of Objects*. 'The Mirror of Production' and 'Simulacra and Simulation'.
Baudrillard
claims that simulacra have no pre-existing relationship with reality- An image can be identified as simulacra.
Examples
of films which reflect ideas about simulacra are The Matrix and Blade Runner In The Matrix,
reality has been reduced to a blank white space full of constructions. This
gives us an idea of what Baudrillard was talking about - we are constantly bombarded by simulacra.
Baudrillard
critiqued the rise of promotion and advertising, which have become part of our everyday lives.
Marx
investigates how we become alienated and cannot interact directly with the world. Man has gone
from making products to making commodities. Each commodity can be weighed against
another because they are quantitative rather than qualitative.
Once
we start trading one thing for another our relationship with the world becomes indirect.
Labour
is a commodity which we must sell to live. Labour has to be exchanged for money. We have to sell ourselves in order
to survive.
Objects are not valued in terms of usefulness but
in terms of trade value.
One
might approach a product in a supermarket thinking not only that it might be good to eat but also
thinking of it in relation to its price and against all the other products.
In 1911 Taylor came up with the idea of assembly
line production
Henry
Ford's production line factories for making cars are a famous precursor to mass production. You
don't make the car yourself; you share the production with other people. The
workers are given sufficient income and leisure time to then consume the products that they're making.
In the
post war period there was an increased power for production and the demand needed to match this.
Every advert is saying to us buy more things'.
John
Berger writes about advertising in chapter 7 of Ways of Seeing'. This is an easy book to digest.
A car
has to communicate that it represents a certain type of person. The car is described as having
human characteristics. The product then confirms our status as having these
types of characteristics. The car is presented to us as a kind of artwork. It suggests social standing.
A
Miller beer advert juxtaposes the beer (in a champagne type glass) with the
type of meal
that you might have seen in a fancy restaurant at the time. It associates
itself with this lifestyle
In the
'Mad Men' clip, the interviewer in the focus group makes an effort to familiarise herself
with the group, even going as far as to lie about not having a name badge.
The architecture of the focus
group is interesting; the room in which the interviewees sit is made to feel
very comfortable so that they will open up, whilst on the other side of the one way glass
the/re being observed and their answers are scrutinised.
Advertisers
find ways to convince consumers that a certain product will make them happy. Demand needs
to be kept consistent - people need to be convinced to keep buying the same things.
Baudrillard s essay
Consumer Society' talks about store front displays and interior layout. Through
exposure to advertising were all made to desire in the same way.
Saussure
examined the status of the sign. Words are only meaningful as part of as wider language.
There's no particular reason for any word to mean something, other than the fact that
we've all agreed that something means what it means*
Saussure
refers to langue as the system of agreement of understanding and 'parole' as the individual speech acts
within this system
Berger describes advertising as a system and a
language.
Baudrillard
says that continual exposure to adverts constructs a system for consumer desire.
Baudrillard
discusses Disney World as a simulacrum. Some of the environments in Disney World are
shaped by our idea of American history rather than the reality of American history.
Baudrillard
talked about the twin towers, saying that they didn't appear to have any relationship to their
surroundings except with each other. The terrorist attacks which destroyed the towers
showed how media coverage can shape history / create simulacra. Baudrillard notes that
the blowing up of the towers mirrored scenes from dramatic Hollywood films such as Die Hard.
Spin doctoring now shapes politics.
Baudrillards vision of
hyperreal society shapes what he thinks of a postmodernism. We are in a post
history because through the simulacrum of society, material progress has come to an end.
Note
the product placement and postmodern artwork in the scene where we are
introduced to Patrick Bateman in American Psycho. Patrick Bateman is some kind
of mask.
Every aspect of his life is made up of the products that he consumes. Out of these products he has built up an identity
for himself.
Media culture controls culture, social space and
even political decision making.
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