UVC1 Bibliography

Gallery of nudes. 2017. Nude photographer. [ONLINE] Available at: http://gallery-of-nudes.com/photographer-tag/nude-photographer/. [Accessed 28 April 2017].

Marxist internet archive. 2017. glossary of terms. [ONLINE] Available at: https://www.marxists.org/glossary/terms/r/e.htm. [Accessed 20 November 2016].

Instagram. 2017. Imogen_Anthony. [ONLINE] Available at: https://www.instagram.com/p/BTZ3j8JlDml/?taken-by=imogen_anthony&hl=en. [Accessed 28 April 2017].

Asger, J(c.1950)Letter to my son [Oil painting on canvas] Tate. Available from: http://www.tate.org.uk/art/artworks/jorn-letter-to-my-son-t03864 [Accessed 13th November 2016]

Aston Martin Mayfair(2016)Your Aston Martin experience starts here, Autocar, 14/21 December 2016, page 58

Aylesworth, Gary, “Postmodernism”, The Stanford Encyclopedia of Philosophy (Spring 2015 Edition), Edward N. Zalta (ed.), URL = https://plato.stanford.edu/archives/spr2015/entries/postmodernism/. [accessed 17th May 2017]

Barthes, R(1977)Death of the author in Image music text. Fontana Press. London

Barthes, R(1957) Mythologies. Translated revised Vintage edition 2009.London: Vintage

Barthes, R(1964)Rhetoric of the image In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 33-40

The battle of Algiers[feature film on DVD]Igor film, Casbah film. Italy, 1967, 121mins

Baudrillard, J(1988) Simulacra and Simulations In: Jean Baudrillard, Selected Writings, ed. Mark Poster (Stanford; Stanford University Press, 1988), pp.166-184

Benjamin, W(1936) The work of art in the age of mechanical reproduction In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 72-79

Berger, J(1972)Ways of seeing, Penguin Books LTD, London

Blade Runner: directors cut [feature film, DVD] Production company: Time Warner Company, produced in UK, 1982, 112mins.

Blunden, A. The encyclopaedia of Marxism: reification https://www.marxists.org/glossary/terms/r/e.htm#reification [accessed 3rd Dec 2016]

Bourdieu, P(1965)The social definition of photography. In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 162-180

Art Blart/ Dr Marcus Bunyan. 2017. posts tagged ‘louise bourgeois femme maison 01 Mar 13. [ONLINE] Available at: https://artblart.com/tag/louise-bourgeois-femme-maison/. [Accessed 29 April 2017].

Brik, O(1926) Photography versus painting In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp.470-473

Cadbury/Mondelez international. 2017. Our Story. [ONLINE] Available at: https://www.cadbury.co.uk/our-story. [Accessed 17 May 2017].

Carravagio, M(c1594)Boy bitten by a lizard [oil on canvas]Place: National gallery. Available here: http://www.nationalgallery.org.uk/paintings/michelangelo-merisi-da-caravaggio-boy-bitten-by-a-lizard [Accessed 27th September 2016]

Cary, Jonathon (1992) Techniques of the observer. 20th edition. October books. USA

Cats are so funny you will die laughing – Funny cat compilation[User generated content compilation] Tiger productions, nd, 24th December 2016. 10 mins 05 seconds. https://www.youtube.com/watch?v=5dsGWM5XGdg [accessed 2nd April 2017]

Chandler, D(n.d) Base and superstructure [online] Available from: http://visual-memory.co.uk/daniel/Documents/marxism/marxism02.html [accessed 25th August 2016 & 20th June 2017]

Chanel(2017)Gabrielle bag advert with Kristen Stewart [online image]Available here: http://www.refinery29.uk/2017/04/148655/chanel-kristen-stewart-gabrielle-bag-campaign-film [accessed on 17th May 2017]

Clark, K(1956)The Nude: A Study in Ideal Form In: Kenneth Clark on Naked, Nude, and Ideal Form. George P Landow. Available from:  http://www.victorianweb.org/sculpture/nudes/naked.html [accessed 28th April 2017]

Constable, J(1843)Stonehenge [Watercolour] V&A museum. London

Courbet, G(1866)The origin of the world [oil on canvas][online image]Place: Musee d’Orsay. Available herehttp://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/the-origin-of-the-world-3122.html [accessed 28th April 2017]

Crary, J(1990)Techniques of the observer. First Edition. MIT Press. Massachusetts

Daily Mail(2017)Heartbroken: Lydia Wilkinson laid tributes near her home today [digital photo][online image]  Available from http://www.dailymail.co.uk/news/article-4372632/Daughter-18-lays-tributes-tabbed-mother-brother.html [accessed 2nd April 207]

Daily Mail(2017)Kate and william go to visit Kates sister Pippa[digital photos] [online images] Available from http://www.dailymail.co.uk/news/article-4371670/Kate-Prince-William-meet-Pippa-s-future-laws.html [accessed 2nd April 2017]

Daily Star(2017) images of women used as evidence of gender stereotyping April 25th 2017 edition [colour photos]

Dali, S(1931)The persistence of memory [oil paint] Location: Museum of Modern Art, New York

Dawn (2009) The curious case of Minou Drouet In:Dawn. Scribe publishing platform. Available here: https://www.dawn.com/news/840653 [accessed 17th February 2017]

D’Alleva, (2014) Methods & Theories of Art History. 2nd edition. Laurence King Publishing. London

Debord, G(1967)Separation Perfected In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 95-98

Derrida, J(1967)The exorbitant: question of method & The engraving and the amiguities of formalism In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp. 944-949

Duchamps, M(1917) Fountain (replica) [porcelain] [online image]. Place: Tate gallery. London. Available from: https://www.royalacademy.org.uk/exhibition/Dali-duchamp?gclid=CMfKvbKvjdUCFSIM0wodusAHSA

Dyer, R(1988)White In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp.457-467

Fanon, F(1967)The fact of blackness In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp.417-420

Fenichel, O(1954) The scoptophilic instinct and identification In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 327-339.

Foucault, M(1979)What is an author In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp. 949-953

Foucault, M(1977) Panopticism In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 61-71.

Freud, L(1985) Reflection (self portrait) [oil on canvas][online image] place: [s.l.] available from http://www.npg.org.uk/freudsite/ [accesses on 2nd April 2017]

Freud, L(1987-89) Two men in a studio [oil on canvas] [online image] place: [s.l.] available from http://www.saatchigallery.com/aipe/lucian_freud.htm [accessed 2nd April 2017]

Freud, S(1905)The Dissolution of the Oedipal Complex In: 7. on sexuality. Third edition. London. Penguin books.

Freud, S(1977) On sexuality. Three essays on the theory of sexuality and other works, vol 7. England. Penguin, Pelican, pp 351-408

Frezza, R & La Fata, S(2017)Orlando bloom rides a paddle board with Katy Perry [online image] available here: http://www.dailymail.co.uk/tvshowbiz/article-4573148/Orlando-Bloom-sends-naughty-text-Jack-Whitehall.html [Accessed 28th April 2017]

Greenberg, C(1965)Modernist painting In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp. 773-9

Greenwood, S(n.d)Crowd of naked bike riders during Naked Bike Ride, Hyde Park.[digital image][online image] Available here: http://www.gettyimages.co.uk/detail/photo/crowd-of-naked-bike-riders-during-naked-high-res-stock-photography/148911933 [accessed 28th April 2017]

Guinness(2017) Guinness advert archive, available here: https://www.guinness.com/en-gb/advertising/ [accessed 17th May 2017]

Hamdan, LA(2016)A convention of tiny movements, 2015. [Audio, tissue box and print] British art show 8. Southampton gallery

Hamilton, R(2004)Just what was it that made yesterday’s homes so different, so appealing? (upgrade)[digital print on paper]. Gallery Tate available to view here: http://www.tate.org.uk/art/artworks/hamilton-just-what-was-it-that-made-yesterdays-homes-so-different-so-appealing-upgrade-p20271

Hanson, B (2006) Walter Benjamin and the arcade projects. First edition. New York. Continuum International Publishing Group.

Hebdige, D(1985) The bottom line on planet one: squaring up to the face In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 99-124

Hughes, R(1991) The shock of the new, reprinted 2012. Thames & Hudson. London.

Inshaw, D(2017) Cerne Giant III, 2011. oil on canvas] British Art ancient landscapes. Salisbury Museum 8th April-3rd September 2017

Jezabel[feature film on DVD]Warner Bros. America, 1938, 1hr, 44mins

Jones, J(2014)Flat, soulless and stupid: why photographs don’t work in art galleries, Guardian, 24th November 2013. Available to view: https://www.theguardian.com/artanddesign/jonathanjonesblog/2014/nov/13/why-photographs-dont-work-in-art-galleries [Accessed 27th September 2016]

Joseph, T(1983) School report [materials unknown] [online image]Place:[s.l.] available here http://www.tamjosephartlive.com/studio12.html

Kinder, L(2012)Scientists believe they have come close to solving the ‘Matrix’ theory,The Telegraph, 26th Oct 2012 available here: http://www.telegraph.co.uk/news/science/9635166/Scientists-believe-they-have-come-close-to-solving-the-Matrix-theory.html[accessed 23rd May 2017]

Koons, J(2016)Now. Newport Street gallery. London  https://www.newportstreetgallery.com/exhibitions [accessed 26th September 2016]

Leibovitz, A(2011)Disney dream portraits https://disneyparks.disney.go.com/blog/2011/03/disney-parks-unveils-new-annie-leibovitz-disney-dream-portraits/ [Accessed 7th December 2016]

Liberman, A(1962) Andromeda [acrylic on canvas] [online image]. Tate gallery London. Available from: http://www.tate.org.uk/art/artworks/liberman-andromeda-t00650 [accessed 1st March 2017]

Ep 5. Lemon scented you, American gods series 1 [television programme]Production company Starz. produced in US. Dir. Vincenzo Natali, 55 mins available on Amazon Prime here: ‘The Secret You’, Horizon [television programme] Dir. Dan Walker. BBC, UK, 21.00, 20/10/2009, BBC2. 60mins. [Accessed May 2017]

Ep 22: Restless, Buffy the vampire slayer series 4[television programme, DVD]Production company: Twentieth Century Fox, transmission date 23rd May 2000, 42mins, Buffy the vampire slayer – Season 4 box set DVD

Lacan, J(1966) The mirror phase as Formative of the function of the I In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp. 620-624

Lacan, J(n.d)What is a picture In: The Visual Culture Reader, second edition edited by Nicholas Mirzoeff, 2002 Routledge, London.

Levine, S(1981) After Walker Evans [photograph] Place: Met Museum. Available here: http://www.metmuseum.org/art/collection/search/267214 [accessed 25th February 2017]

Lucas, S(1992) Two fried eggs and a kebab [wood, eggs, kebab, photograph] Place: [s.l]Available here: http://www.bbc.co.uk/programmes/p01hw2mr/p01hw2km [accessed 29th April 2017]

Lucifer, Series 1-2[television programme] Production company:Fox, produced in US, Time unknown available on Amazon Prime here:https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Dprime-instant-video&field-keywords=lucifer [accessed 1st June 2017]

Magritte, R(1937)Not to be reproduced [oil paint] Location: Tate

Manet, E(1863) Olympia [Oil on canvas] [online image] Place: Musee d’Orsay. Available from: http://www.musee-orsay.fr/en/collections/works-in-focus/search.html?no_cache=1&zoom=1&tx_damzoom_pi1%5BshowUid%5D=4042  [accessed 2nd April 2017]

Marx, K(N.D) The fetishism of the commodity In: The visual culture reader, Nicholas Mirzoeff. Second edition. London. Routledge

The Matrix; collectors edition[feature film, DVD]Production company: Time Warner company, produced in US, 1999, 123mins.

Mazda advert (Anon) January 2016. In: Motor trend magazine. The enthusiast network. New York

Merz, T(2013)Schrödinger’s Cat explained, The Telegraph, 12th August 2013, available here: http://www.telegraph.co.uk/technology/google/google-doodle/10237347/Schrodingers-Cat-explained.html [Accessed 10th June 2017]

Mirror Mirror[feature film]Dir. Tarsem Singh, production company Relativity Media, Yucaipa films, Goldman Pictures, us/canada, 1hr 41mins, 2012 available on Amazon prime here: https://www.amazon.co.uk/d/51/Mirror-Julia-Roberts/B00ESQAX7C/ref=sr_1_1?s=instant-video&ie=UTF8&qid=1500579792&sr=1-1&keywords=mirror+mirror [accessed 10th June 2017]

Mulvey, L(1975) Visual pleasure and narrative cinemaIn: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 381-389

Murray, E(2003)Who wants [lithograph, screenprint, paint] place [s.l.] Available here:https://www.artsy.net/artwork/elizabeth-murray-who-wants [accessed 29th April 2017]

OK!(2017)Female stereotypes in photographs May 2017 issue[colour photograph]

Pashke, E(2016)Ed Pashke website available here http://www.edpaschke.com/ [accessed September 25th 2016]

Red(2017)strong female images and images showing female stereotypes [colour photograph]

Richards, K(2008) Derrida reframed. First edition. London. I.B. Tauris & Co. Ltd

Rosenthal, N & Koons, J(2014) Jeff Koons conversations with Norman Rosenthal, First edition. Thames and Hudson Ltd. London

SAGA advert (Anon) January 2017. In: Waitrose food magazine. Wyndeham Southernprint Ltd. London

Saner, E(2017)Renamed and shamed: taking on Britain’s slave-trade past, from Colston Hall to Penny Lane,The Guardian, 29th April 2017. Available here: Renamed and shamed: taking on Britain’s slave-trade past, from Colston Hall to Penny Lane[Accessed 6th May2017]

Seat(2016)The new seat Ateca, Autocar, 14/21 December 2016, Back page

Seers, L(2012) Nowhere less now [Wood, cardboard, scaffolding poles, polystyrene, dexion, HD video projection, headphones] [online image] Available from: http://www.lindsayseers.info/exhibition_node/345 [accessed 2nd April 2017]

Sherman, C(2010)Untitled. images of Sherman dressed in historical costume in front of a black and white landscape photos[digital images, etchings] Place: MoMa. Available here: https://www.moma.org/interactives/exhibitions/2012/cindysherman/gallery/mural/#/6/untitled-2010-4/ [accessed 25th February 2017] MOMA, Cindy Sherman

Shmoop Editorial Team. “Structuralism.” Shmoop University, Inc. Last modified November 11, 2008. http://www.shmoop.com/structuralism/ [accessed 25th August 2016 ]

Simba[feature film on DVD]J Arthur Rank organisation. UK, 1955, 99mins

Singh, A(2017)The not so Young British Artists: All 2017 Turner Prize nominees are aged over 40, The Telegraph, 3rd May 2017. Available here: http://www.telegraph.co.uk/news/2017/05/03/not-young-british-artists-2017turner-prize-nominees-aged-40/ [accessed 6th May21017]

Sorry[Music video]Dir. [anon]. The Beehive Studios, Los Angeles. 4mins 25secs available from https://www.youtube.com/watch?v=QxsmWxxouIM [accessed 2nd April 2017]

Spero, N(2008)Take no Prisoners [photocopies on board, ribbon, pole] Place: [s.l.] Available here http://uk.phaidon.com/agenda/art/picture-galleries/2011/april/07/nancy-spero-at-the-serpentine/ [accessed 29th April 2017]

The Times(2017)photos from January 28th Saturday edition depicting strong female characters [anon] [colour photo]

Tunick, S(2010)Sydney 1 [c-print mounted between plexi][online image] available here http://www.spencertunick.com/installations/selected-works-1/260/1 [accessed 28th April 2017]

Turner, JMW(c.1827-28)Stonehenge [Watercolour] Salisbury Museum. Salisbury

Vertigo[Feature film]Dir. Alfred Hitchcock. Alfred J. Hitchcock Productions. 2hr 8mins

Vogue(2017)Adverts from March issue to portray female gender stereotyping May 2017 issue [anon][colour photo]

Wheeler, S (2000) Deconstruction as an analytic philosophy. First Edition. Stanford. Stanford University Press.

Williamson, J(1978)Decoding advertisements. Paperback edition. Marion Boyars publishers Ltd. London

Yes Sir, let’s boogie again! — New Cadbury Dairy Milk TV ad 60 Seconds[company ] advertisement. 9th February 2015. 1min available here: https://www.youtube.com/watch?v=_2jmOJ9ag5M[accessed 17th May 2017]

Yiadom-Boake(2015)all works [oil on canvas] in British art show 8 place Southampton Gallery & Colin, A Yee, L(2015) British Art Show 8. First edition. London. Hayward publishing

You should have a CAT – Funniest cat videos ever![User generated content compilation] Tiger productions, nd, 27th November 2016. 10 mins 47 seconds. https://www.youtube.com/watch?v=lrvqjdMcjjQ&spfreload=5 [accessed 2nd April 2017

 

References for assignments

Assignment 1

Adams, Ansel(1948)Oak tree in a snow storm [black and white photo] Place: Unknown. Available here http://shop.anseladams.com/Oak_Tree_Snowstorm_p/5010121-u.htm [accessed 29 August 2016]

Ansel Adam’s story of visualisation [vidcast, online]Production: Advancing your photography. 5mins 45secs. Available here: https://www.youtube.com/watch?annotation_id=annotation_2944111535&feature=iv&src_vid=gT-G42cskH4&v=kxLCCZH6LOs [accessed 28 August 2016]

Collishaw, Mat(2016)Mat Collishaw website[online content]: Available here: 

http://matcollishaw.com/ [accessed 27th September 2016]

Collishaw, M(2014)All things fall [zoetrope aluminium, LEDs, motor, plaster, resin, steel]Place: Unknown. Available here:  http://matcollishaw.com/works/all-things-fall/Cooper, J(2012)Growing up: The young British artists at 50. First edition. London. Prestel [accessed 27th September 2016]

Excerpt from the Artist Talk with Lynn Hershman Leeson, 15.03.2012[vidcast, online]Production: ZKM Karlsruhe 4mins 54secs: Available here: https://www.youtube.com/watch?v=vC69xR4smAI [accessed August 2016]

Hershman, L(2015)Roberta Breitmore [social construct, installation, performance peice](1974-78)Origin of the species pt2. Location: Modern Art Oxford [n.d.]

Mat Collishaw on Mat collishaw[online user generated content] Artfund uk 2mins52 secs [online] Available here: Matcollishaw.com/about/media/ [accessed 27th September 2016]

PBS(n.d)PBS Asnel adams [interview transcript] Available here: http://www.pbs.org/wgbh/amex/ansel/sfeature/sf_packing.html [accessed 29 August 2016]

Assignment 2

Prader, I(2015)In the style of Klimt [digital image] Available here: http://www.prader.at/index2.php?id=58 [accessed 20th December 2016]

Banksy(2005)Sunflowers from petrol station[oil paint] Place: unknown. Available here: http://banksy.co.uk/in.asp [accessed 20th December 2016]

Farleigh, A(2014)These things are your becoming [Oil, 23kt gold leaf on canvas]Place: Unknown Available here: http://www.angelafraleigh.com/2014/10/5/ew61w4vnejbxf9n9rq7f1t6rt09s82 [accessed 20th December 2016]

Noland, C(1989)Frame device [pipes, stantions, 12 walkers]Place: Hammer museum. Los Angeles. Available here: https://www.artsy.net/artwork/cady-noland-frame-device [accessed 20th December 2016]

da Cunha, A(2010)Kentucky [mopheads, thread] Place: Thomas Dane Gallery. London available to view: http://britishartshow8.com/artists/alexandre-da-cunha-1497 [accessed 20th December 2016]

Koshlyakov, V(2006)High-rise on Raushskava embankment [Tempera on cardboard] place: Unknown. Available here: http://www.saatchigallery.com/artists/artpages/valery_koshlyakov_highrise.htm [accessed 20th December 2016]

 

Assignment 3

Barthes, R(1977)Death of the author in Image music text. Fontana Press. London

D’Alleva, (2014) Methods & Theories of Art History. 2nd edition. Laurence King Publishing. London

Derrida, J(1967)The exorbitant: question of method & The engraving and the amiguities of formalism In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp. 944-949

Foucault, M(1979)What is an author In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp. 949-953

Williamson, J(1978)Decoding advertisements. Paperback edition. Marion Boyars publishers Ltd. London

Weber, B(2017)Versace SS17 advert as seen in Vogue London March issue 2017. Conde Nast Publications. London.

Weber, B(2016)Versace SS17 adverts[digital images and text advert] available here: https://fashionista.com/2016/12/versace-spring-2017-ad-campaign [accessed 5th March2017]

Assignment 4

Barthes. R(1957) Mythologies. Revised vintage edition. London. The Random House Group Limited

Berger, J(1972) Ways of seeing. Reissued. London. Penguin Books.

Evans, j. Hall, S(1999) Visual culture: a reader. 9th edition(?). London. Sage Publications Limited

Foucault, M(1977) Panopticism In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 61-71.

Harrison, C. Wood, P(1992) Art in theory: 1900-2000: An anthology of changing ideas. Revised edition. USA. Blackwell Publishing Limited.

Jones. A(2013) Body Armour. [photogragh]. [online image]. place: Courtesy of the artist. Available from: https://www.royalacademy.org.uk/exhibition/allen-jones-ra [accessed 7th May 2017]

Jones. A (2011) Dancers. [steel sculpture enamel paint]. [online image].place: Hayes Galleria. Available from: https://en.wikipedia.org/wiki/Allen_Jones_(artist)#/media/  [accessed 8th May 2017].

Jones. A(1969) Hatstand, Table, Chair. [fibreglass sculpture with leather, glass wigs]. Place: Photograph from Christies catalogue at time of sale 2013, buyer unknown. Available from: http://www.christies.com/lotfinder/Lot/allen-jones-b-1937-hatstand-table-5652400-details.aspx [accessed 7th May 2017]

Jones. A(1989) Rocky III. [work on paper]. [online image]. place: Galerie Fluegel-Roncak. Available from: http://www.artnet.com/artists/allen-jones/rocky-iii-a-_KqCl4E5Q7a-6_-GCjBJxQ2 [accessed 7th May 2017].

Jones. A(2002) Three-Part Invention. [Oil on canvas]. [online image]. place: private collection. Available from: https://www.royalacademy.org.uk/exhibition/allen-jones-ra [accessed on 8th May 2017].

Lacan, J(1966) The mirror phase as Formative of the function of the I In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp. 620-624

Mulvey, L(1975) Visual pleasure and narrative cinemaIn: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 381-389

Potts, A(2000)The sculptural imagination: figurative, modernist, minimalist [online] publisher unknown. Available here: https://www.scribd.com/document/56484795/ALEX-POTTS-The-Sculptural-Imagination-p-1-23 [accessed 24th July 2017]

Ray, C(1992)Boy [fibreglass, steel, fabric]Place: Whitney museum of America in: The sculptural imagination: figurative, modernist, minimalist. Alex Potts [online] publisher unknown. Available here: https://www.scribd.com/document/56484795/ALEX-POTTS-The-Sculptural-Imagination-p-1-23 [accessed 24th July 2017]

Richards, M(2008) Derida reformed: A guide for the arts student. First Edition. London. I. B. Tauris & Co. Limited.

Wheeler. S(2000) Deconstruction as an Analytic Theory. 2000 edition Stanford, California. Stanford University Press.

Williamson, J(1978) Decoding Advertisements: Ideology and Meaning in Advertising. First edition. Glasgow. Robert MacLehose and Company Limited.

Assignment 5

Anon(-2017)History of Daily mail ownership in Wikipedia available here: wiki page on Daily Mail’s history [accessed17th June 2017]

Barthes, R(1957) Mythologies. Translated revised Vintage edition 2009.London: Vintage

Baudrillard, J(1988)Simulacra and simulations. In: Selected Writings, ed. Mark Poster (Stanford; Stanford University Press, 1988), pp.166-184. Available online here: http://mysite.du.edu/~tweaver2/artd2355/schedule/baud_sim.pdf [Accessed 29th June 2017]

Brummer, A(2017)Economic meltdown: Over 40 years, In Daily Mail. 7th June 2017. Available here: http://www.dailymail.co.uk/news/article-4579138/ALEX-BRUMMER-Labour-policies-ll-bankrupt-Britain.html#ixzz4nkoUPfKH [accessed 20th June]

Camille, M(1996)Simulacrum. In: Critical terms for art history, ed. Robert S. Nelson and Richard Shiff. University of Chicago Press, 1996. pp. 31-44.

Chandler, D(n.d) Base and superstructure [online] Available from: http://visual-memory.co.uk/daniel/Documents/marxism/marxism02.html [accessed 25th August 2016 & 20th June 2017]

Dacre, P(2017) Who’s who, what’s at stake in Britain’s unexpected election. Daily Mail. 7th June 2017 Available from:

http://www.dailymail.co.uk/wires/ap/article-4581302/Whos-whats-stake-Britains-unexpected-election.html [20th June 2017]

Foucault, M(1977) Panopticism In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 61-71

Lacan, J(1949) The mirror-phase as formative of the function of the I In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp. 620-624

Richards, K(2008) Derrida reframed. First edition. London. I.B. Tauris & Co. Ltd

Selwyn, J(2014) photo of Ed Milliband eating a bacon butty[ digital photo] available to view here: https://en.wikipedia.org/wiki/File:Ed_Miliband_bacon_sandwich.jpg [accessed 24th July 2017]

Silverman, K(1983) The subject In: Visual culture reader, Jessica Evans, Stuart Hall. London. Visual culture reader. pp. 340-355

The Telegraph(2017)Theresa May eating chips on the campaign trail for the 2017 election [digital image]available to view here; http://www.telegraph.co.uk/food-and-drink/news/biggest-political-food-faux-pas/ [accessed 24th July2017]

Wheeler, S (2000) Deconstruction as an analytic philosophy. First Edition. Stanford. Stanford University Press.

Pt 1 project 6 leisure time and consumerism flanner

Khan Academy’s website draws a link with Manet and the  picture of people at The Tuileries and the work of Baudelaire. The people are looking and sitting and watching, taking on the the attitude of the flaneur, that is someone who has enough money and leisure time to walk and watch the world go past. In this instance of the artist its remarked that it is the Flaneur who is the observer watching but not necessarily participating. khanacademy manet-music-in-the-tuileries-gardens

We are asked to make notes on the phenomenon of the flaneur and what thinkers like Walter Benjamin thought of them, Walter Benjamin and the arcade project edited by Beatrice Hanson puts the onus on the Flaneur to be watching so as to make a sale, the Flaneur has the free time, the money and some political awareness or ideas that they wish to trade almost like currency so coffee shops, City Parks Galleries, places where you can congregate with others and talk. The influence of the shopping arcade as the forerunner of the department store, just as a place to go to get out of the house even if the weather is bad. In this book Benjamin compares “flaneurs, prostitutes and labourers; the mind on sale matches the body for sale as tart or as wage slave”. He suggests “the shelf-life of the flaneur is limited he will have, in time, to scrape a living and scrap his illusions”. Doesn’t bode well for my scratched at future career as an artist then, does it?!?

The space and time to move ideas between people had a major impact on the art that was created as well as appreciated by its audience (think Marcel Duchamp’s urinal maybe without the Flaneur it wouldn’t have existed, theres a thought).

So how is the Observer affected? Well in two ways, from Khan academy’s website point of view, the angle the observer is introduced to in the art, take Manet’s painting at the Tuileries, you aren’t centred on the action. Also with more free time, galleries and spaces where art is displayed become available to fill free time this means a large portion of the general public who had previously had very limited experience of art were now coming to terms with this accessibility, also prevalent in the available technology although I believe this has accelerated over time, the difference in cost between self developing, having the room to do it as well as ownership of equipment/chemicals versus a good phone camera and instagram with a child on the shutter button… As I wrote of this in the first part of the project, I will leave this here.

references

Hanson, B (2006) Walter Benjamin and the arcade projects. First editionNew York. Continuum International Publishing Group.

https://www.khanacademy.org/humanities/becoming-modern/avant-garde-france/realism/a/manet-music-in-the-tuileries-gardens (accessed 27 September 2016)

 

 

Pt 1 Project 6 Photography the new realism

Do you think that Brik’s article points to a practise that was taken up by photographers or other artists to any great extent. Also Do you find any resonances with Briks ideas in contemporary discussions of photography and painting.

Brik argues that photographers where still trying to create photos that had the studied pleasing effect of a painting and that overall they weren’t embracing the potential of photos of life happening and captured in the now. I see his point, the Ansel Addams photos are works of art in framing the subject and drawing the eye to that which the photographer want to in much the same way that a painting does, but to say its quick kind of belies the time in the darkroom burning in and shielding elements of the paper from the light of the negative. Chemical photography can be manipulated, even if its to a smaller scale than photoshop.

To me, the greatest impact is the recording of our history, paintings of historical events tend to put a glossy view on one side or the other and its difficult to achieve that in photographs without just with-holding the ones that show the side you don’t want seen.

Also, some of the most evocative images have had the perfect framing you expect to see on a mighty oil painting in the galleries, take the photo of St Pauls cathedral rising above the smoke and shells of homes in the foreground. I used that photo as the focal point for a year 6 painted play backdrop at the end of 2015, its a recognisable symbol of the devastating effects of the war and the hope that kept the nation going, however, it was a fleeting image that didn’t look the same the day before or after and the photo has the value of being a unique and accurate moment in time in the way that a painting really can’t be. However is Briks assertion that painters say their pictures ‘in which nature is not the subject but merely an initial impetus for ideas’ really such a bad thing if its true? the ambiguity in a painting can lead to more flights of fancy and creative imaginings in the viewer than a photo other than wishing to be there in a more real and recognisable way.

Anyway, the rise of photoshop kind of blows the honesty of the moment out of the water, perfecting the already potentially perfect.

On top of that the fact that the rise in quality of digital photography at the same time as its reduction in cost gives everyone a level playing field on whats possible and has had more impact on photography than I think photography had on painting. Whilst you generally have to study to get good enough at painting to put your pictures on a wall, anyone pointing a camera at the right spot at the right moment and let the technology do its programmed thing, can have a chance at capturing the photo that travels around the world in either the press or social media.

As Jonathon Jones wrote in the Guardian 13th Nov 2014 ‘Paintings are made with time and difficulty, material complexity, textural depth, talent and craft, imagination and “mindfulness”. A good painting is a rich and vigorous thing. A photograph, however well lit, however cleverly set it up, only has one layer of content. It is all there on the surface. You see it, you’ve got it. It is absurd to claim this quick fix of light has the same depth, soul, or repays as much looking as a painting by Caravaggio – to take a painter so many photographers emulate.’ I think he said it better than me there.

 

 

References

https://www.theguardian.com/artanddesign/jonathanjonesblog/2014/nov/13/why-photographs-dont-work-in-art-galleries [Accessed 27th September 2016]

http://www.nationalgallery.org.uk/paintings/michelangelo-merisi-da-caravaggio-boy-bitten-by-a-lizard [Accessed 27th September 2016]

Brik, O(1926) Photography versus painting In:Art in theory 1900-2000, Harrison, C. Wood, P. Oxford: Art in theory 1900-2000. pp.470-473

 

 

Pt1 project 5 Art as commodity

We are asked to read ‘The fetishism of the commodity’ by Karl Marx (pps 122-123 The visual culture reader second edition edited by Nicholas Mirzoeff -first published 1998- by Rutledge) to help understand the value we place on an object of art.

Can you see ways in which this may help us to understand the art market?

The chapter reminds us that we don’t just place a value on an object based on the sum value of its parts, we ‘view’ it internally as the sum of the man-hours that took to create it and the value we place on the whole market area the product has come from, which in itself helps to define the value of the object too (the craftsmen socialise and discuss what the items value is as well as the customer external to -in reference to the article we’ll use table makers- the table making fraternity).

So the value of art -as a thing pleasing on the eye- has a value which we then add to because we know it took the skill of an artist and we place the skill of that artist highly within the artist community, the object has a social standing as a piece that is almost as physical as the actual piece which has defined its value.

Does the article above go any way to explain the sort of work made by artists such as Jeff Koons?

Koons (1955- date)has an exhibition at the Newport Street gallery this year, as a retrospective of his work from 1979 to 2014, as the gallery puts it  Tracing the development of the artist’s radical reconfiguration of the readymade Koons takes ordinary commercially available inocent items and reproduces them in other materials so you can look at them a different way,

Koons as an artist has created work that appeals to some in the art world and the general public for a few reasons.

1 He is potentially poking holes at the relationship of the object and its social standing in this value argument.

2 Jeff is doing some art with objects that general public know and recognise, so they feel comfortable with it, in the same way that every generation of artists picks up whats at hand to replicate. Even if in the back of the mind the pieces are trying to get you to redefine their value.

3 His work has now achieved a social standing in its own right as art and that could be the reason for its value.

 

Find some examples of Jeff Koons work and read up on Jeff Koons

Find a couple of examples of artists who work in similar ways to Jeff Koons.

As was made clear for me in ‘The shock of the New  (Robert Hughes for Thames & Hudson), art has included what was available to it forever. As Robert says ‘the industrial revolution began to appear in landscape painting, slowly pushing its way into a fixed aesthetic category of a cultural world’. The next step in this inclusion had to be the imagery in the cities and our homes. Pop art was the fore runner of Koons work, taking that which is commonly available and elavating it, inviting us to take another look at the aesthetic and value. Although Jeff refers (in  Jeff Koons: conversations with Norman Rosenthal) to his art as having a link to time travel, Norman put it as ‘art having a connection to the past while remaining completely in the present.’

his steel shiny balloon animals, originally things created to delight us as children, now oversized, reflecting back the viewer from a height has the effect of changing the items from the benign to more overwhelming and intimidating when up close. However, Thats not the way he perceives them, they hark back to his earlier use of shop bought inflatables which he equates to us as humans because we hold breath and breath and these things are created of breath and air. He likens the “vacuous” inside (of the blow up) to the “vacuous” outside  “The inside and the outside become more , and this gives the viewer a sense of security to feel more open about investigation the external world”.

Its more than that though, he wanted what to him felt like an aspect of self from his work, as he felt that the colours of the inflatables was relevant to him and the mirrors he had been using in his work in the reflections created a heightened sense of sexuality which he wanted to be a step removed from.

Jeff’s work is a step apart from pop art, it was his starting point, he worked with Ed Pascke in the 1970’s and as he says, Ed gave him his sense of the ready made and to look around him where-as Duchamp gave him the thought process and reasoning.

The two artists I have picked as working in the same way as Koons are Paschke  and Warhol. Paschke who like Warhol used Marilyn Monroe, also used such cultural icons as sheakspeare and the Mona Lisa ,branching out into shoes and accordians whereas Warhols use of the mundain concerned much more memorable brands like campbells soup and marmite

The big however in all this is purpose though, Warhol famously created a factory to create art on mass, Paschke didn’t and neither does Koons.  Koons has many reasons between his different series of works however the effect of using people and symbols in this way has probably helped create the same fervour around all three artists.

References

Marx, K(N.D) The fetishism of the commodity In: The visual culture reader, Nicholas Mirzoeff. Second edition. London. Routledge

Koons, J(2016)Jeff Koons now exhibition: Newport Street Gallery 18 MAY 2016 – 16 OCT 2016  https://www.newportstreetgallery.com/exhibitions/jeff-koons-now [accessed 26th September 2016]

Rosenthal, N & Koons, J(2014) Jeff Koons conversations with Norman Rosenthal, First edition. Thames and Hudson Ltd. London

Hughes, R(1991) The shock of the new, repreinted 2012. Thames & Hudson. London.Tate (2016) Rihttp://www.tate.org.uk/art/artworks/hamilton-just-what-was-it-that-made-yesterdays-homes-so-different-so-appealing-upgrade-p20271 [accessed 18 September 2016]

Pashke, E(2016)Ed Pashke website available here http://www.edpaschke.com/ [accessed September 25th 2016]

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