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Encountering Contemporary Art 2000 (5 lectures of notes)

by: Alisa

Encountering Contemporary Art 2000 (5 lectures of notes) Art 2000

Marketplace > Ohio State University > Art > Art 2000 > Encountering Contemporary Art 2000 5 lectures of notes
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About this Document

These are notes for the first five lectures of Encountering Contemporary Art with professor Scott Kaplan. They cover the main points of the lectures, brief summaries of the readings, and short anal...
Encountering Contemporary Art
Scott Kaplan
Art, contemporary art, Art History, art philosophy, kant and art
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This 4 page Bundle was uploaded by Alisa on Thursday February 18, 2016. The Bundle belongs to Art 2000 at Ohio State University taught by Scott Kaplan in Spring 2016. Since its upload, it has received 24 views. For similar materials see Encountering Contemporary Art in Art at Ohio State University.


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Date Created: 02/18/16
1/19/2016 ● Venus of Willendorf (15,000­10,000 BC) ● Frieze of Animals (15,000­ 10,000 BC, cave of lascaux­france)­ communicating  the idea of a horse but it’s not a horse. “art is a tool of communication” ● Palette of King Narmer (3100 BC, slate)­ much more complex than venus of  willendorf ○ facial specifications, posture, tells a story/ commemorates a  moment ○ low relief­ more of a drawing than a 3­D sculpture ○ level of symbolism, hierarchy shown through space, perspective,  size, location ○ evidence that there are people specifically skilled in carving reliefs in the society; society has created an artist class. People value craft. ● Mycerinus and Queen (2500 BC, Slate, 56”) ○ possesses individualized characteristics, likeness with actual  people ○ better grasp of perspective than in the Palette of King Narmer  (enlarged head, etc.) ● Harvest Scene (1400 BC, wall painting) ○ change in material, paint is used in these depictions.  ● Hercules and the Neamen Lion­ black relief ○ highly stylize, iconic, symbols ● Standing Youth  (600 BC, marble, 6’1.5” ● Battle of Gods and Giants (530 BC, Marble, 26”) ● Saussure­ no relationship between meaning and words 1/21/2016 ● Greek art is characterized by being one with nature, Romans tried to conquer  nature, through art and architecture/etc. ● Development towards Equestrian Marcus Aurelius (161 AD Bronze Casting, over life­size)­ this was made possible by the technological developments of the time.  ○ shows society values art, needs money to build this. who pays?  Since this is a portrayal of a govt. figure, most likely the govt. pays ● Plato The Republic Book 10 reading ○ 2 speakers­ Socrates to Glaucon, talking about a bed and its 3  makers (God, carpenter, painter) ○ Plato says the artist is no good since he doesn’t actually know  how to make a bed, just knows how to imitate what already exists. ○ seems to be arguing that art is an invaluable usurper to the  original. is art that terrible? ○ “Representation” is an object that has its own standing as an  unique visual likeness, refers to, but is distinct from, its source. aka not a  valueless imitation. 1/26/2016 ● after the shift in technology, there is a shift in subject matter. (Jesus happened) ● religious depictions, messages, become a new focus and are generously  sponsored. different scales (large public viewing, and personal household items) ● don’t have internet/way to spread message. so art is used to spread the gospel! ○ things become portable and easily disseminated. productions of  ivory, which is light and of a scale that is mobile but not individual (ex. manuscript is too personal, small panel or sculpture is a good scale) ● crucifixion becomes the symbol for catholicism  ● st. apollase in classe­ catholic church but is atypical ● St. Francis­ 1215­ 60” x42” tempera on Panel (even cheaper material than ivory) ○ gilded with gold­ shows that society really valued this religious art,  forced to value the piece just because of the value. gold is expensive. therefore,  regardless of the subject, the gold makes it valuable  ○ invitation for viewers to enter the work­ “Breaking of the third wall” ○ art influenced by money­ financial support, etc. ● The Sacrifice of Isaac­ 1402, bronze, brunelleschi ○ Quatrefoil­ symbolic figure of a circle and a square combined.  ○ abrahamic religions­ judaism, christianity, muslim ● marble is used because it has a nice depiction of skin. shows “translucent”  quality of skin. ● Expulsion from Eden­ The Holy Trinity­ 1425, Fresco, Masaccio ○ depiction of original sin ● Annunciation 1440 Fra Angelico, Fresco ○ (tempera on paint) are both depictions of religious scenes. gets  the point across but seems very factual, removed from corporal/emotional  impact. figures are gender­neutralized and don’t seem very “alive”. ○ he is painting someone as an ideology so it’s not important if she’s “human” ● VS.  Madonna and Child, 1455, Fra Filippo Lippi (fra angelico’s student) ○ shows shift in perspective. (halo is no longer a flat plate on the  head) ○ madonna is beautiful, clearly a woman. children are clearly little fat boys. much more realistic than Annunciation ● Big shifts: incorporation of the viewer’s identity/participation into the painting;  incorporation of painter’s personal investment and emotional engagement into a  painting. (ex. asked to paint a random dog vs. your own beloved dog) 1/29/2016 ● Collingwood reading. says that art is not craft, art is great and philosophical etc.  etc.  ○ Art is NOT: amusement, magic, puzzle, instruction,  advertisement/propaganda, exhortation. these are 6 types of art falsely so called ○ art that only works to elicit a certain reaction is not art, it’s akin to  drugs. ● Donatello (1430) vs. Verrocchio (1465) bronze casts of David and Goliath.  depiction begins to evolve from idealized to realistic ● Luca Della Robbia (1440)­ tablet relief of Madonna and child uses blue to clothe  madonna, b/c blue was recognized as an expensive pigment ● Hercules and Antaeus (1475, Pollaiuolo)­ less idealized forms, looks more like  real people. straining in muscle of 2 people fighting, shows struggle for life and death ● Giovanna Tornabuoni (1488, Ghirlandaio)­ creamy, polished, luminescent figure.  close attention to detail. everything is there (space, bible, symbols of wealth, light  source, etc) but it still feels flat.  ● Portrait of a young man (Botticelli, 1480s)­ much more volumized, seems like an  actual 3­d person. hand slightly extrudes from the picture frame, seems to be emerging  from the painting.  ● Bellini 1490­ depiction of madonna with christ, and other important christian  figures ● venus of Urbino (Titian, 1538)0 nude woman, lots of questions­ watchdog is  asleep, other people in the painting aren’t paying attention, attending to material goods  instead ○ Getting a portrait painted becomes a sign of stature ● Caravaggio Painting showing jesus coming to Paul and paul falling over in  realization. most of the picture is o f a horse. god is in the form of light, a new concept­  before god was literally a person with a halo. religious scene that seems to take place in  “modern­day” ○ “caravaggio cave”­ dark and light creates space that you have to  look into. dramatic effect, emphasized space ● Goya’s paintings of Kronos eating his children; painting of royal family­ not  idealized, not glorious. kinda pudgy, dull expressions, not romanticized ● revolutionary art, paintings of wars, political content embedded in paintings­ call  to action. almost propaganda. power, property, politics, money, religion, society, love,  sex­ themes that are always in art 2­4­2016 ● gender and sexuality in art. gender identity in modern times ● interest, satisfaction, pleasant, good, beautiful ○ pleasant: completely sensory, elicits a sensory response. viewed  with interest, subjective, not universal ○ good: relies on an a priori understanding of an object. judgment of  how well it holds up to the expectation ○ notion of universality­ everyone looks at in and agrees it’s  beautiful. ○ neither you nor the people you love are beautiful (in a kantian  world)­ because we are too subjective to judge ● Kant: representation is not about comparing a manifest/painted/etc. form to the  actual thing. because that would leave us unsatisfied because it doesn’t function as the  thing. so instead, we assess the representation against all other representations. 


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