UVC1 Closing statement

This has been a tough course, I feel I’ve been led down a thought process to a series of questions I should be asking myself as I create in the future. My view of choice has changed as has my ability to engage with some styles of art.

The biggest difference to me is probably my ability to vocalise about art in a more questioning and thoughtful language in fact the more formal text style can only help me gather thoughts for my continued education as I start on Painting 1 Understanding painting media.

I’ve also learnt my lesson, I’ll be referencing each project as I go as I am not wasting 2 weeks at the end of the next course dealing with the whole course then…

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The sculptural imagination: figurative, modernist, minimalist: Alex Potts

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]

 

David Smith sculpture as an adventure viewed.

Sculpture seen as a lesser form of painting that often has to sit in spaces designed for pictures, not objects.

sculpture had”in a way become painting that had moved out into three dimensions with the frame extended to encompass the viewer” (p3)

Ok, so the impact of scale isn’t a modern thing, classical art was grand and impressive, is Jones capitalising on this?

Charles Ray Boy, oversized impact.

I only had access to the introduction of this book, the copy I ordered from the US never arrived, and I found the text I was looking for before I finished the chapter.

So this one is light on notes.

Michael Camille “Simulacrum”

This essay was recommended by my tutor in assignment 5 assessment.

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. Available here: https://www.scribd.com/search?page=1&content_type=tops&query=simulacrum%20camille

Visual arts as a study between the real and a copy (abstraction rejects resemblance, thats a negative way of putting it) Simulacrum as something trying to represent what its copying begs question of which one is real. Term ignored for a few centuries while art was valued most for being as close to that which it portrayed as it could. Postmodern re entry of simulacrum to explain representation theories.

Simulacrum latin for phantasmic-semblance Plato banished artists as he didn’t trust semblance (?) simulacrum to him was a “false claimant to being”

So Plato’s era sought to distinguish between “good and bad copies”

Old testament and false idols or Plato’s false claimant. Ambiguity surrounding image. Deluze Image without resemblance god made man in his image, we sinned, so lost resemblance while keeping image so becoming simulacra “We have become simulacra. We have forsaken moral existence in order to enter into aesthetic existence”(Deluze 1990,257) (Love island…)

Deluze argues a simulacrum as a copy needs to be viewed as equal to the original it denies the original and other copies.

Deluze used simulacrum to unpick surrealism, ‘ceci n’est pas une pipe’ Foucault argued that we no longer looked to the original item in art to compare it to the copy, simulacra was distinguishable in its own right without the comparison. He saw this as a bad thing Notes that this all came from philosophy rather than art criticism itself.

Photography in the 70’s comes under the spotlight as each repeatable copy seeks “authorship, subjectivity and uniqueness” Reagan blown up on screen being waved to by his wife small below, representing “the President” (Assignment 5)

Gaze of the camera we are :voyeurs standing behind the spectacle”  so whats the real image?

Boudrillard Simulacres et simulation. social not philosophical debate.

Uses Disneyland as a simulacra, better than real? asks what if god disappeared and all that is left is the image not the fact? if we stop basing a copy on its original, what do we reference it against?

“Baudrillard’s argument, that mass media have neutralised reality in stages, at first reflecting then masking and finally substituting themselves for reality” a reactionary lament.

Debord “the image has become the final form of commodity reification” Jameson argues that images distort history nostalgic looks at past events. Biased looks at what has happened (Corbyn through the Daily Mail?)

Cave paintings at Lascaux painted as a representation of what existed or as a memory of what had passed? (present past tense)

Look at p15 for possible quote on desire of the viewer to see what they want?

how politicians distort history to make it fit their plans for re-election?

creating a simulacra?