879 research outputs found

    The Studio and the Kitchen: Culinary Ugliness as Pictorial Stigmatisation in Nineteenth-Century France

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    Contribution Ă  la session "Ugliness as a Challenge to Art History", colloque annuel de l'Association of Art Historians (AAH), University of Warwick, avril 2011.In Nineteenth-Century France, food contributed to representations of the ugliness of bad, repulsive painting, as well as it took on an ontology of painting - both as medium and as social function - but predominantly: what painting must not be

    Zeitgeist: An Artist\u27s Present Perspective

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    This statement is an analysis of my process in creating a zeitgeist collection of painted portraits. The pieces in this collection began with a live, in-person session with each of my subjects, all of whom are my friends: females ages 18-22 at Wash.U. An interest in the brain and mirror neurons, as well as Susan Stewart’s idea that the face is a “text” that must be read in order to exist, is what enabled these portraits to become a psychological examination of the spirit of our time. The material process of collapsing layers of time, emotions, and thoughts on the canvas was influenced by contemporary and modern portraitists like Alice Neel. The effects of technology on these identities, and the value of a physical, face-to-face presence is examined through my interpretation of the painted zeitgeist figures

    Black Artist, White World

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    A homogeneous environment such as the art academy (and greater art world) limits non-white fine artists’ abilities to innovate, to challenge, to subvert the status quo, to push society forward, and to do the social and political work that has been done historically. In addition, the art academy and art world have used the function of an implied white audience to create a status quo for the consumption and critique of fine arts. To deconstruct and work against this limitation in my own art, I use an intersectional approach to research and making: challenging dominant logics (such as the implied white audience), using personal narrative (such as memory) as a primary source, and contesting distortions (such as exclusion, stereotypes, and the devaluing and tokenization of minoritized experience)

    Credulous Spectatorship from Zeuxis to Barthes

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    This dissertation explores intersections between trompe l\u27oeil painting and photography. It began as an interest in contemporary photographers, such as Thomas Demand, whose photographs of constructed paper models encourage viewers to discover the nature of his interventions. His strategy resonates with a centuries-old strategy in trompe l\u27oeil painting, but now in the terms of photographic, rather than pictorial presence. That is, most of Demand\u27s photographs do not compel the viewer\u27s belief in the tangible presence of the object represented; instead, they exploit photography\u27s indexical promise of delivering the world as it once appeared, in order to temporarily trick viewers about the terms of that indexical delivery. Beyond intersections in artistic strategies, I track reception accounts of trompe l\u27oeil painting and photography for their reliance on a credulous spectator. Pliny\u27s Zeuxis, who is tricked by Parrhasius\u27s painting of a curtain, remains the model for this errant credulity. In their efforts to reveal the manipulation of photographs, historians and theorists assume that the natural attitude for viewing photographs is wholly credulous and recast postmodern viewers as contemporary Zeuxises. Instead of admonishing spectators for such credulity, I argue that trompe l\u27oeil facilitates a pleasurable experience of oscillation between belief and disbelief. I also suggest that these trompe l’oeil deployments of oscillation tend to coincide with historical moments of perceived change in visual technologies—changes due to digitalization, as well as mechanical or other forms of reproduction. Trompe l\u27oeil artists play upon our supposed willingness to accept reproductions for the objects they represent. The inclusion of photographs and/or engravings in these trompe l’oeil paintings simultaneously stages and reprimands our desire for the aura of the actual object. Finally, I suggest that a contemporary renewal of trompe l\u27oeil in the medium of photography reveals an interest in recuperating belief in photographs—a belief not unlike that which Roland Barthes narrates in Camera Lucida. Just as Barthes can discover something of photography\u27s indexical promise, even after decades of his own scholarly efforts to unveil photography\u27s rhetoric of construction, so might we, even while heeding the postmodernist lessons of disbelief, recuperate a moment of belief in a skeptical age

    Credulous Spectatorship from Zeuxis to Barthes

    Get PDF
    This dissertation explores intersections between trompe l\u27oeil painting and photography. It began as an interest in contemporary photographers, such as Thomas Demand, whose photographs of constructed paper models encourage viewers to discover the nature of his interventions. His strategy resonates with a centuries-old strategy in trompe l\u27oeil painting, but now in the terms of photographic, rather than pictorial presence. That is, most of Demand\u27s photographs do not compel the viewer\u27s belief in the tangible presence of the object represented; instead, they exploit photography\u27s indexical promise of delivering the world as it once appeared, in order to temporarily trick viewers about the terms of that indexical delivery. Beyond intersections in artistic strategies, I track reception accounts of trompe l\u27oeil painting and photography for their reliance on a credulous spectator. Pliny\u27s Zeuxis, who is tricked by Parrhasius\u27s painting of a curtain, remains the model for this errant credulity. In their efforts to reveal the manipulation of photographs, historians and theorists assume that the natural attitude for viewing photographs is wholly credulous and recast postmodern viewers as contemporary Zeuxises. Instead of admonishing spectators for such credulity, I argue that trompe l\u27oeil facilitates a pleasurable experience of oscillation between belief and disbelief. I also suggest that these trompe l’oeil deployments of oscillation tend to coincide with historical moments of perceived change in visual technologies—changes due to digitalization, as well as mechanical or other forms of reproduction. Trompe l\u27oeil artists play upon our supposed willingness to accept reproductions for the objects they represent. The inclusion of photographs and/or engravings in these trompe l’oeil paintings simultaneously stages and reprimands our desire for the aura of the actual object. Finally, I suggest that a contemporary renewal of trompe l\u27oeil in the medium of photography reveals an interest in recuperating belief in photographs—a belief not unlike that which Roland Barthes narrates in Camera Lucida. Just as Barthes can discover something of photography\u27s indexical promise, even after decades of his own scholarly efforts to unveil photography\u27s rhetoric of construction, so might we, even while heeding the postmodernist lessons of disbelief, recuperate a moment of belief in a skeptical age

    The sublime network; painterly passage and materiality in the post internet era

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    This practice-led research project investigates painting in the Post Internet era. In the vast database of the Internet, paintings both historical and contemporary are distanced from their makers and contexts. Their diachronic position in a once considered "linear" historical model has been disrupted. The Internet fractures historical narratives, identities and oeuvres and makes them miscellaneous. Through painting I aim to communicate the paradoxical disparity and conflation that occurs between artworks, oeuvres and artistic identities online. Within the rhizomatic space of the Internet, I source and montage various digital examples of Romantic landscape painting into new mashed Romantic images that become source material for my paintings. Here I find synergy between the Post Enlightenment definition of the sublime and a contemporary fascination in the digital sublime - of which the Internet is champion. The project interrogates the Internet in a new and promiscuous way. I use the Internet to identify and disseminate what was once only trusted to the canonical archives of printed literature - the narrative of history

    Andrew Kötting’s Louyre: This Our Still Life. An Archival Reading

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    The paper explores the experimental documentary Louyre: This Our Still Life (2011) by the subversive British filmmaker Andrew Kötting, drawing on contemporary conceptualizations of archival art. It reads the film as “anarchival” through the lens of Derrida’s psychoanalytic deconstruction of the concept of the archive and the curational discourses that were influenced by it. Furthermore, placing the film within a democratic horizon, the paper argues that the film is also a counter-archive, in that, as a public archive that sublimates trauma, it enunciates counter-hegemonic, non-patriarchal discourses on art, disability and care. &nbsp

    Volume 9 Number 3

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