Theory 25/02/2018 bva 213 week three
Theory 25/02/2018 bva 213 week three
Bachelor of Visual Arts
Theoretical Discourse 2
BVA213
2019
Semester One: 1-2.30 pm Monday “The Hive” Downtown
Pukapuka akoranga Coursebook
Tutor: Traci Meek Telephone 2112699
ext 3308
traci.meek@sit.ac.nz Office: Downtown, upstairs Rm 301
Welcome
|
Nau
mai! Welcome to Theoretical
Discourse 2 BVA213
In this paper we will be focusing on research
questioning, in particular locating our questioning within critical and
theoretical discussion informing art making and viewing. In this we will
endeavour to develop a critical practice involving practice and theory.
The assessment tasks
of this paper include:
Proposal 10% DUE Monday 13th May
Project
65% DUE
Monday 5pm 21st October
Documentation 25% DUE Monday 5pm 11th
November
(Dates,
time, place to be confirmed)
2018 Course Overview
Content
Research practice questioning
Practitioner and critic research
Reading and workshop schedule
Practice/theory relationship
Theoretical discussion
Documentation
Presentation
Critiques
Practice Based Research
Critical Reading
Assessments
Proposal 10%
Project
65%
Documentation 25%
Coursework
Tasks
Art Critic Research Presentation
Theorist/critic politics art making/viewing
Reading and Workshop
Library Tasks
Contemporary Practitioner, locate practice
Theoretical Contexts, current debates
Critiques (3)
Paper Title: Theoretical
Discourse 2
Paper Code: BVA213
Level: 6
Credits: 15
Notes: Compulsory
Paper
Breakdown of Hours: Lecture and Tutorial 68
Independent
Study/Practice 82
Total hours 150
Recommended Allocation of Self-Directed
Learning Hours
Learning Activity Recommended
Hours
Preparation for class 8
Reading 8
Research 18
Project/s 30
Documentation 18
1 AIMS
Students will
investigate and analyse key theorists and critics relevant to their research
questioning. Students will gain an understanding of the role of art criticism
and the politics of art making and viewing. Students will interpret key texts
to communicate an understanding of what it means to be a contemporary
practitioner.
Students will further develop
their understanding of art theoretical debates by identifying and beginning to
articulate the ways in which these concepts have influenced their own relative
practices. Students will be engaged in practice-based explorations to extend
their comprehension of relationships between theory and practice. Areas of focus may include but are not limited to: Socially Engaged
Practice, Institutional Critique, Relational Aesthetics, Collaboration,
Site-Specificity.
2 LEARNING
OUTCOMES
On successful
completion of this paper, students will be able to:
2.1 Investigate, analyse and contextualise
key theorists and critics.
2.2 Evaluate
theoretical contexts.
2.3 Explore and analyse findings through
practical exploration.
2.2 Explore
a range of approaches to documentation.
3 CONTENT AND CONTEXT
3.3
Interpret key texts,
research theorists and critics, evaluate theoretical debates, specific historic,
cultural, geographic and social contexts.
3.4
Contextualise own practice,
explore theoretical positions through practice, practice-based research methodologies.
3.5
Active documentation as
research tool, reflective practice, analytical and critical thinking.
4 LEARNING
AND TEACHING APPROACHES
The paper will be delivered through a combination
of lectures, practical workshops, and independent study/practice.
5 METHOD OF ASSESSMENT
Assessments
|
Weightings
|
Learning Outcomes
|
Proposal
|
10%
|
2.1, 2.2, 3.3
|
Project/s
(e.g. practical/ studio)
|
65%
|
2.1, 2.2, 2.3,
3.3, 3.4
|
Documentation
(e.g., blogs, reports, evaluations)
|
25%
|
2.1, 2.2,
2.3, 2.4, 3.3, 3.4, 3.5
|
2019 Class Schedule (Subject to Change)
Theoretical Discourse 2
BVA213
Semester
1
First Part of Semester (9 wks) 11 February – 12 April
Mid Semester Break 15 April – 26 April
Second Part of Semester (8 wks) 29 April – 21 June
Semester Break Monday, 24 June
– Friday, 5 July
|
|
12 Feb-13 April
9 weeks
|
Semester One : 1-2.30pm Monday “The Hive” Downtown
|
1
11 Feb
2
18 Feb
|
No class
|
3
25 Feb
Session 1
|
Introduce paper and assessment tasks
Questions
Art making/viewing Practice/Theory
Journal, active documentation
Critical Reading
|
3
25 Feb
Session 2
|
Art
criticism, text and practice (1)
Amelia Jones: Curating in Feminist Thought
https://vimeo.com/204758083 (52 mins)
|
4
4 Mar
|
Coursework:
Critique One
Bring a set of exploratory
drawings and initial practice testing. Show how blog is underway and discuss
approach to documentation.
|
5
11 Mar
|
Art criticism, text and practice (2) Claire
Bishop (participation)
Claire Bishop’s “Participation and
Spectacle: Where Are We Now?”
8.52-1.00
|
6
18 Mar
|
Coursework
Presentations: Art Critic Research Presentations
|
7
25 mar
|
Art criticism, text and practice (3) (site)
|
8
1 Apr
|
Coursework Theorist/critic
politics art making/viewing
|
9
8 Apr
|
Art criticism, text and practice (4) Shannon Jackson (social
practice)
Performance and the Social
Lecture by Shannon Jackson
|
Mid
Semester Break 15 April – 26 April 29
April to 21 June 8 weeks
|
|
10
30 Apr
|
Review Term One key content
|
11
6 May
|
Practice based research methodologies,
review
Active documentation review
|
12
13 May
|
Assessment:
Proposal Presentations
13
May (Time/place to be confirmed)
|
13
20 May
|
Reflective Practice
|
14
27 May
|
Coursework:
Reading and Workshop
|
15
3 Jun
|
Contemporary Practitioner, key Text
|
16
10 Jun
|
Contemporary Practitioner, key Text
|
17
17 Jun
|
Coursework:
Critique Two
Bring blog and two examples
of practice which explores key questioning. Discuss how these example of
practice explore questioning and how this is being informed/supported.
Discuss practical and theoretical next steps.
|
Semester
Break Monday 24 June – Friday 5 July
|
|
8 July – 6 Sept
9 weeks
|
Semester
2
First
Part of Semester (9 wks) 8
July –6 September
Mid
Semester Break
9 – 13 September
Second
Part of Semester (8 wks) 16
September - 8 November
|
1
|
Coursework:
Contemporary Practitioner, locate practice
|
2
|
1:1
|
3
|
Contemporary debate (1)
|
4
|
1:1
|
5
|
Coursework:
Theoretical Contexts, current debates
|
6
|
1:1
|
7
|
Contemporary debate (2)
|
8
|
1:1
|
9
|
Coursework:
Reading and Workshop (if not completed)
|
Mid Semester Break 9-13th
September
|
|
16 Sept - 8 Nov
|
|
10
Mon 16 sep
|
Coursework 4: Critique Three
Bring draft of final
submission accompany with draft statement situating questioning and
evaluating example/journal against assessment criteria.
|
11 Mon 23 sept
|
1:1
|
12
|
Briefing Finals
|
13Mon 30 Sept
|
|
14-17
|
Theory assessments Project and Documentation
Project/Body of Work DUE Monday 5pm 21st October
Documentation DUE Monday 5pm 11 November
(Dates, time, place to be confirmed)
|
Aro matawai
Assessments
Instructions
You
are required to provide evidence that you have meet criteria for Theoretical
Discourse 2 BVA213
This
is to be by submission of assignments made up of work produced as a result of
completing each of the tasks outlined in this course book. You will be given instruction and guidance
from your Tutor/s prior and during each task and may ask for clarification or
further instruction if required. You
must follow Faculty guidelines in the Ethics handbook. Work is to be APA
referenced.
BVA
213: Theoretical Discourse 2 includes
the following assessment tasks;
Proposal 10%
Project
65%
Documentation 25%
Submission
of assessment material
Submit
material as per faculty guidelines. Work to be accompanied by completed
assessment cover sheet and to be clearly named.
Please refer to the student handbook
for information about formal extensions.
Assessment
Cover Sheet
Bachelor of Visual Arts
Theoretical
Discourse 2
BVA213
Level 6 15 Credits
2019
Name:
ITEM
|
Possible Mark
|
Your Mark
|
Weighting
|
Total
|
Proposal
|
100
|
10%
|
||
Project
|
100
|
65%
|
||
Documentation
|
100
|
25%
|
||
MARK
GRADE
|
||||
Assessment Grades
Grades will be awarded as follows:
A+ 90-
100%
A 85-
89%
A- 80-
84%
B+ 75-
79%
B 70-
74%
B- 65-
69%
C+ 60-
64%
C 55-
59%
C- 50-
54%
D 40-
49%
E 0-
39%
A passing grade for SIT programmes
is C- or better
Theoretical Discourse
2 BVA213
Assessment 1 Proposal Presentation
10%
Develop
and present a proposal for a research project that explores a specific question
within your practice. Within this identify at least one aspect or issue
regarding art viewing and/or art making in a contemporary context that is
significant in your questioning.
Identify
key theorists and critics, and discuss specific ideas and their contexts
(cultural, social, historical, political for instance) that are relevant to
your questioning. Build a body of useful resources and analysis and evaluate
this material to inform your questioning.
Plan
developmental studio work to explore and progress your questioning in
conjunction with theoretical research, and identify specific documentation
approaches to record these developments, such as active documentation, and
reflective practice.
Proposal
discussion includes
Specific research question.
Identify at least two relevant theorists/critics
and briefly discuss the specific ideas including their contexts (cultural,
social, historical, political for instance) that inform your questioning.
Identify one aspect or issue regarding art
viewing and/or art making in a contemporary context that is significant in your
questioning. Locate at least two theoretical texts and two examples of practice
to support this focus, and briefly overview their relevance.
Demonstrate questioning in studio practice.
Include a set of studio drawings and practical tests (at least 3 of each) Discuss
how your approach to blogging progresses your questioning, and works across
practice and theory.
Prepare a time plan of general tasks of theoretical
and practice research to progress questioning.
Power point
presentation, 10 mins, APA referenced
13th
May 2018
Theoretical
Discourse 2 BVA213
Assessment
Task 1: Proposal Presentation 10%
School
of Visual Arts
Assessment Schedule
Student’s Name: ___________________
Paper : Theoretical
Discourse 2 BVA213
Project: Assessment 1 Proposal Presentation10%
Criteria
Proposal Presentation
|
Out of
|
Comments
|
|
Content
Proposal discussion includes:
State specific research
question within your practice.
Identify at least two relevant
theorists/critics and briefly discuss the specific ideas including their
contexts (cultural, social, historical, political for instance) that inform
your questioning. Within this discussion draw upon at least six useful resources
and analysis and evaluate how this material informs your questioning.
Identify at least one aspect
or issue regarding art viewing and/or art making in a contemporary context
that is significant in your questioning. Locate at least two theoretical texts
and two examples of practice to support this focus, and briefly overview
their relevance.
Demonstrate questioning in
studio practice. Include a set of studio drawings and practical tests (at
least 3 of each)
Discuss how your approach to
journaling progresses your questioning, employs active documentation and
reflective practice, and works across practice and theory.
Prepare an overview of your
projects time plan. Indicate key tasks (theoretical and practice) to progress
questioning.
|
/80
|
||
Structure and Delivery
Power point presentation
10 mins
APA referenced
Considered organisation of content
aids discussion points.
Includes introduction, body and
conclusion.
Well prepared and timed.
Slides effectively laid out and
utilise visuals to aid clarity of presentation.
|
/20
|
||
Assessment Totals
|
Total out of /100
|
Mark
|
Grade
|
Assessment
Grades
Note: Please see
Assessment Rubric handout
Grades will be
awarded as follows:
A+ 90- 100%
A 85- 89%
A- 80- 84%
B+ 75- 79%
B 70- 74%
B- 65- 69%
C+ 60- 64%
C 55- 59%
C- 50- 54%
D 40- 49%
E 0- 39%
A
passing grade for SIT programmes is C- or better
Theoretical Discourse
2 BVA213
Assessment 2 Project 65%
Assessment 3 Documentation 25%
Research question clearly identified. Key theoretical components of questioning
articulated and researched, and developed in practice, resolving identified
issue/s of art making and viewing. Key cultural, geographical and social
contexts addressed. Research supported through engagement with key
theorists/critics/practitioners.
The above aspects will be evident in a developed and critically engaged body
of exploratory work, involving practice and blogging, active documentation and substantial
theoretical and practitioner research. Body of work demonstrates understanding
of critical issues within art making and viewing in a contemporary context. One
key example of the projects body of work is to be presented/exhibited in an
appropriate manner for the projects questioning.
Blog submission should include evidence of all course work tasks and
development material for body of work/theoretical questioning. BlogAPA
referenced.
Submit
Project, Body of Work including Key example presented/exhibited
Documentation, Blog
Theoretical
Discourse 2 BVA213
Assessment
Task 2: Project 65%
Assessment
Task 3: Documentation 25%
School
of Visual Arts
Assessment Schedule
Student’s Name: ___________________
Paper : Theoretical
Discourse 2 BVA213
Project: Assessment 2 Project 65%
Assessment
3 Documentation 25%
Programme: Bachelor of Visual Arts
Due
Date:
Assessor(s): Traci
Meek
Criteria
|
Out of
|
Comments
|
Project
Body of work and key example of practice
provides evidence of;
Research questioning clearly articulated,
researched and developed and responded to theoretically and in practice.
Key theoretical components of questioning
supported and responded to in practice.
Theoretical and practice resolve of identified
issue/s of art making and viewing. Key
cultural, geographical and social contexts addressed.
Developed and critically engaged body of
exploratory work supported by practice led methodologies and theoretical,
critic and practitioner research.
Body of work including key example of
practice presented in an appropriate manner.
Body of work demonstrates critical
engagement and resolve of project questioning.
|
/65
|
|
Documentation
Blog submission includes evidence of all course work tasks.
Documented evidence of productive and
developmental practice.
Resolve of
specific issues of art making and viewing, supported by key
theorists/critics/practitioners. Includes research on key cultural, geographical and social
contexts.
Blog includes active documentation, practice led methodologies and theoretical
and practitioner research.
Journal
material APA referenced.
|
/25
|
|
Total out of 90
|
Assessment
Totals
|
Mark
|
Grade
|
Assessment
Grades
Note: Please see
Assessment Rubric handout
Grades will be
awarded as follows:
A+ 90- 100%
A 85- 89%
A- 80- 84%
B+ 75- 79%
B 70- 74%
B- 65- 69%
C+ 60- 64%
C 55- 59%
C- 50- 54%
D 40- 49%
E 0- 39%
A
passing grade for SIT programmes is C- or better
Theoretical Discourse 2 BVA213
Coursework Tasks
The following Coursework Tasks are to be engaged with
actively and productively. They are designed to encourage momentum and ongoing development
of your project and to encourage the dissemination of your research.
Coursework
Tasks
Art Critic Research Presentation
Theorist/critic politics art
making/viewing
Reading and Workshop
Contemporary Practitioner, locate
practice
Theoretical Contexts, current debates
Critiques (3)
Course Work: Art Critic/Theorist Research Presentation
·
Power point Presentation 10 minutes
·
Outline own practice research questioning.
·
Identify and analyse a specific art critic discussion about
an issue of interest in art making or viewing, relevant to own practice research
questioning.
·
Overview key aspects within discussion which inform
questioning, paying particular attention to clearly articulate issues of
interest within own practice research questioning.
·
Briefly discuss any intended practical approach or specific
methods and discuss relationships approach/methods to issue of interest in art
making or viewing.
·
Provide bibliographic details of sources.
Coursework: Theorist/critic politics art
making/viewing
Library Task
Identify one question re art viewing and one re art
making relevant to own practice questioning.
Research in the SIT Library and locate research material to inform
these questions (at least 3 sources for each question). Skim material and make
a mind map/diagram overviewing key content for each question.
Theorist and critic suggestions: Claire Bishop, Amelia
Jones, Carol Becker, David Joselit, Helen Molesworth, Rosalind Krauss, Hal
Foster, Irit Rogoff, Nicholas Mirzoeff, Rosalind Krauss, David Campany, Shannon
Jackson, Bridie Lonie, Su Ballard
Coursework
Reading and Workshop Task
Review relevant literature, and identify two key theoretical/practice
texts that support and inform an aspect of critical interest in your research
practice questioning in one of the areas listed below, or as discussed with
Tutor.
Texts may vary in complexity and scale, but should be useful for your
project and form the basis of a short workshop presentation/activity to share
with the class in Term Three.
Inform own research practice questioning through considering critical
area/s of interest in art making or viewing in:
Socially engaged practice
Collaboration
Institutional Critique
Relational Practice
Installation practice
As selected in consultation with Tutor
Record bibliographic details.
Provide a copy of texts for class resource, and prepare and deliver workshop
activity as per class schedule.
Coursework: Contemporary Practitioner, Locate
Practice
Library
See
Visual Arts Library Handout to support search
Theory 2
question focus is…
One
specific aspect within Theory 2 Question focus requiring attention is …
What I
need to find out more about this (and why)…
Record contemporary practices/works/associated writing that could
help inform this aspect of questioning (list what/why) Include at least one
practice NZ context.
Coursework
Theoretical Contexts, current
debates
Identify a current debate in contemporary art relevant to
your projects questioning. Research and analyse at least 3 sources to inform
understanding of this debate and situate within its theoretical and political contexts.
Analyse own questioning in regards this understanding.
Overview findings in a power point presentation (10mins)
APA referenced
Coursework: Critiques
Semester One & Two
Critique One
Bring
a set of exploratory drawings and initial practice testing. Show how blogging
is underway and discuss approach to documentation.
Critique Two
Bring
blog and two examples of practice which explores key questioning. Discuss how
these example of practice explore questioning and how this is being
informed/supported. Discuss practical and theoretical next steps.
Critique Three
Bring
draft of final submission accompany with draft statement situating questioning
and evaluating example/journal against assessment criteria.
Ngā rauemi Resources
Theory
in contemporary art since 1985, 2012, Kocur,
Zoya [Ed] ; Leung, Simon [Ed]
Chichester, West Sussex: Wiley-Blackwell
Art
and social change: a critical reader, Bradley, Will [Ed] ; Esche, Charles [Ed] London : New York: Tate
Publishing (2), 2007
Practices
of looking: an introduction to visual culture, Sturken, Marita ; Cartwright,
Lisa, New York: Oxford University Press, 2009
See
Documents of contemporary art series and Documents of contemporary art for wide
range of topics eg participation, situation, cinematic, artists studio, everyday,
memory, sublime, appropriation, artist joke, colour, chance, documentary,
archive etc
Media
and cultural theory, Curran, James [Ed]
Morley, David [Ed], London ;New York: Routledge, 2006
Themes
of contemporary art: visual art after 1980, Robertson, Jean ; McDaniel, Craig, New York ; Oxford: Oxford
University Press, 2013
Applying
performance: live art, socially engaged theatre and affective practice, Shaughnessy,
Nicola
Art
& today, Heartney, Eleanor, London ; New York: Phaidon Press, 2008
A
companion to contemporary art since 1945, Jones, Amelia [Ed] Malden, MA
;Oxford: Blackwell, 2006
Body
art performing the subject. Amelia Jones. Minneapolis: University of Minnesota
Press, 1998
Seeing
differently: a history and theory of identification and the visual arts. Jones,
Amelia, Abingdon, Oxon; New York: Routledge, 2012
Performing
the body/performing the text, Jones, Amelia [Editor]; Stephenson, Andrew,
London
; New York: Routledge, 1999
Perform,
repeat, record: live art in history, Jones, Amelia [Editor]; Heathfield, Adrian [Editor] Bristol ;
Chicago: Intellect , 2012
Participation,
Documents of contemporary art, Bishop, Claire [Editor] London; Cambridge, Mass.: Whitechapel MIT Press, 2006
Artificial
hells : participatory art and the politics of spectatorship. Bishop, Claire, London
; New York: Verso Books, 2012
Institutional
critique: an anthology of artists' writings, Alberro, Alexander [Ed]; Stimson, Blake [Ed]
Globalization
and contemporary art. Harris, Jonathan [Editor] Malden, MA:
Wiley-Blackwell (70), 2011
Installation
art : between image and stage. Petersen, Anne Ring, Copenhagen: Museum
Tusculanum Press, 2015
Service
media: is it "public art" or is it art in public space?: a collection
of essays, Keeler, S. P [Ed]
Social
works : performing art, supporting publics, Jackson, Shannon, New York:
Routledge, 2011
Leaving
art: writings on performance, politics, and publics, 1974-2007, Lacy, Suzanne. Durham,
NC: Duke University Press, 2010
Art
scenes: the social scripts of the art world, Helguera, Pablo, New York: Jorge
Pinto Books, 2012
Site-specificity:
the ethnographic turn. Coles, Alex [Editor] London: Black Dog Pub. 2000
The
visual culture reader, Mirzoeff, Nicholas, London: Routledge, 2002
Living
as form : socially engaged art from 1991-2011, Thompson, Nato
The
'do-it-yourself' artwork : participation from fluxus to new media, Dezeuze,
Anna, Manchester: Manchester University Press, 2012
Dead
history, live art? : Spectacle, subjectivity and subversion in visual culture
since the 1960s, Harris, Jonathan, Tate Gallery Liverpool, Liverpool University
Press, 2007
Seeing
differently: a history and theory of identification and the visual arts, Jones,
Amelia, Abingdon, Oxon [England] ; New York: Routledge, 2012
The
communication theory reader, Cobley, Paul [Editor], London: Routledge, 1996
Touch:
sensuous theory and multisensory media, Marks, Laura U; Minneapolis: University of Minnesota Press,
2002
Leaving
art: writings on performance, politics, and publics, 1974-2007, Lacy, Suzanne, Durham,
NC: Duke University Press, 2010
After
modern art : 1945-2000, Hopkins, David, Oxford ;New York: Oxford University
Press, 2000
Art
since 1980: charting the contemporary, Kalb, Peter R, London: Laurence King Publishing, 2013
Art
and electronic media, Shanken, Edward A, London; New York: Phaidon, 2009
Performing
the body/performing the text, Jones, Amelia [Ed]; Stephenson, Andrew [Ed] London ; New York:
Routledge, 1999
The
one and the many: contemporary collaborative art in a global context, Kester,
Grant H, Durham: Duke University Press, 2011
Seeing
witness: visuality and the ethics of testimony, Blocker, Jane, Minneapolis: University
of Minnesota Press, 2009
Understanding Installation Art; From
Duchamp to Holzer, Mark Rosenthal
Art 21 Art in the twenty first
century also see DVD series of same name
Installation Art a Critical History.
Bishop, Claire. London: Tate, 2005
Installation Art, De Oliveria, N.,
Oxley, N.,Petry, M.
The contingent object of Contemporary
Art, Martha Buskirk
Body Art, Performing the subject,
Amelia Jones
Participation, Claire Bishop, MIT
Press
http://channel.tate.org.uk/media/36865880001/#media:/media/36865880001/26592877001&context:/channel/most-popularTate
Online Channel see sculpture in the exploded field (Expanding concepts of
sculpture study day part 8 Installation Art, Claire Bishop)
Art New Zealand
Art Forum.com
Becoming
past: history in contemporary art, Blocker, Jane, Minneapolis: University of
Minnesota Press, 2016
Screens:
viewing media installation art, Mondloch, Kate, 2010
Perform,
repeat, record: live art in history, Jones, Amelia [Ed); Heathfield, Adrian [Ed] Bristol ; Chicago:
Intellect, 2012
The
feminism and visual culture reader, Jones, A. London: Routledge, 2003
Body
art/performing the subject, Jones, Amelia, Minneapolis: University of Minnesota
Press, 1998
Self
/ image: technology, representation, and the contemporary subject, Jones,
Amelia, London ; New York: Routledge, 2006
Gender
trouble: feminism and the subversion of identity, Butler, Judith, New York:
Routledge, 2006
Understanding
Foucault: a critical introduction, Schirato, Tony (2);
Danaher, Geoff ; Webb, Jen Crows
Nest, N.S.W.: Allen & Unwin, 2012
Modern
art culture: a reader, Frascina, Francis, London; New York: Routledge (292), 2009
Bachelor of Visual Arts
2019
Theoretical
Discourse 2 BVA213
ASSESSMENT COVER SHEET
Complete and include with your project
Student
Name
______________________
Date Assessment Due _______________________
Date Submitted _______________________
I declare that the work contained in this
project is my own except where acknowledgement of sources has been made. I
understand that my work may be used for moderation purposes.
Signed_____________________________
What do I want to explore?
Boudoir
Nude
difference between fine art nude verses porn photography
help people understand the the difference and social ideas around nudity/ naked and art verses porn
Look at the history behind the 2 different styles
famous photographers nudity/porn
history through to current days
environment verses studio with nudity
lighting techniques make a difference
Explore a topic
decide a topic
gather research material
difference between fine art nude and porn photography googled
https://www.dpreview.com/forums/thread/4007706
https://www.artfinder.com/blog/post/art-vs-porn/#/
http://www.differencebetween.net/miscellaneous/fashion-beauty/difference-between-nudity-in-art-and-pornography/
https://www.huffingtonpost.com/kalliope-lee/how-obscene-how-james-joyce_b_3435788.html
great reading about trials look into more depth
https://www.theguardian.com/artanddesign/2006/feb/08/photography.art
https://www.theguardian.com/artanddesign/jonathanjonesblog/2012/nov/28/naked-nude-art-divide
Great reading and good links to follow
https://www.researchgate.net/post/Is_there_still_a_difference_between_the_naked_and_the_nude_If_there_is_a_difference_it_is_the_same_in_male_and_female_figures_Is_it_historical
https://www.slideshare.net/Service_supportAssignment/porn-and-nude-photography-are-mutually-exclusive
Great reading and good links to follow
https://www.artsy.net/article/artsy-editorial-art-pornography
Great reading and good links to follow
Difference Between Nudity in Art and Pornography
Nudity in Art vs Pornography
Art is the process of using one’s skills in creating and sharing objects, experiences, and conditions which stimulates the thoughts, emotions, and beliefs of the audience through their senses.
People have been creating works of art since ancient times as evidenced by the many artifacts uncovered in ruins of ancient civilizations. The way that they were presented has shown modern man how the skills of the artists were developed and how art evolved through the years. The subjects of art can be diverse. They may be of nature, man, geometric patterns, animals, religion, or man’s day-to-day life. One very controversial subject in art is nudity.
The human body has been one of the main subjects for artists. In ancient times, especially in Greek art, the nude male human body was the most common subject. Today, one of the first subjects that artists paint is the nude female body.
Nudity has been a favorite subject in paintings, sculptures, and photography. The practice probably started with the depictions of gods and goddesses in ancient paintings. Since they were deities, they wore none or little clothes, and it was but natural to paint them as such.
Today, however, there is a question of when nudity is considered an art or can be considered as pornography. Pornography is the depiction of the human body for the purpose of erotic and sexual arousal. It can be found in the different types of media: magazines, books, photographs, animation, films, recordings, videos, drawings, sculptures, and paintings. In fact, ancient nude works of art were considered unfit to be displayed by the 19th century people who have uncovered them.
They were, however, made and seen as works of art by those who created them. It is only in recent times that the thin line between nudity in art and pornography has been drawn even closer.
The difference lies in each individual’s perception and interpretation of the subject. It is important to note that nudity in art is intended to let people appreciate the beauty of the human body.
Pornography, on the other hand, is intended to arouse the sexual feelings of individuals and the audience. Models pose in such a way that their expressions convey sexuality and eroticism.
Summary:
1.Nudity in art has been an accepted subject since ancient times while pornography is an unacceptable expression which has been developed in later years.
2.Nudity in art is natural and is meant to let the audience appreciate the human body while pornography is intentionally done to arouse sexual feelings in the audience.
3.Models of nude artworks pose naturally and do not convey any eroticism while pornographic models have expressions and poses that are erotic and sexually arousing.
4.Nudity in art is accepted in society while nudity in pornography is seen as inappropriate and is banned in most societies.
5.In some cases, what one person may view as art might be viewed as pornography by another depending upon how the presentation affects the audience.
2.Nudity in art is natural and is meant to let the audience appreciate the human body while pornography is intentionally done to arouse sexual feelings in the audience.
3.Models of nude artworks pose naturally and do not convey any eroticism while pornographic models have expressions and poses that are erotic and sexually arousing.
4.Nudity in art is accepted in society while nudity in pornography is seen as inappropriate and is banned in most societies.
5.In some cases, what one person may view as art might be viewed as pornography by another depending upon how the presentation affects the audience.
Read more:
http://www.differencebetween.net/miscellaneous/fashion-beauty/difference-between-nudity-in-art-and-pornography/http://www.differencebetween.net/miscellaneous/fashion-beauty/difference-between-nudity-in-art-and-pornography/http://www.differencebetween.net/miscellaneous/fashion-beauty/difference-between-nudity-in-art-and-pornography/
http://www.academia.edu/2313865/Drawing_the_Line_Art_versus_Pornography
Art vs. Pornography: What’s the Difference?
Posted by Theosophical Ruminator under Odds & Ends[18] Comments
Ravi Zacharias tells the story of a trial in which a lawyer was defending a pornographer of the basest sorts. The lawyer asked the plaintiff, “Have you ever gone into an art gallery?” The plaintiff responded, “Yes.” The lawyer continued, “Have you paid to go into that art gallery?” Again the plaintiff responded, “Yes.” “Were there paintings of naked people in that art gallery?”, the lawyer asked. “Yes,” the plaintiff responded. “So why do you call that art, but Playboy pornography?” The plaintiff did not have a response.
Have you ever wondered what the difference is between a piece of art featuring nude figures, and pornography? Is there a difference?
In A Pilgrim’s Regress, C.S. Lewis wrote about a man who ordered milk and eggs from a waiter in a restaurant. After tasting the milk he commented to the waiter that it was delicious. The waiter replied, “Milk is only the secretion of a cow, just like urine and feces.” After eating the eggs he commented on the tastiness of the eggs. Again the waiter responded that eggs are only a by-product of a chicken. After thinking about the waiter’s comment for a moment the man responded, “You lie. You don’t know the difference between what nature has meant for nourishment, and what it meant for garbage.”
Ravi Zacharias notes that while both art and pornography utilize nude figures, the purpose/motives for portraying the naked body are definitively distinct. Pornography utilizes nude figures for the pure purpose of stimulating the baser instincts of individuals; instincts that will not be satisfied by that alone. Art, on the other hand, utilizes nude figures for the purpose of highlighting the beauty of man. While pornography engenders lust, art engenders admiration for the glory and beauty of the human body, and thus the glory of its Maker.
https://theosophical.wordpress.com/2009/05/27/art-vs-pornography-whats-the-difference/
Art installation
•Installation concentrates on the
relationships between things and their contexts rather than the one object.
•The meaning rather than ‘residing ‘in’
the object for the perceptive viewer to see it, is now seen to be something
made in the encounter with the viewer. (Archer, 1994).
•…addresses the viewer directly as a
literal presence in the space…an embodied viewer whose senses of touch, smell,
and sound are as heightened as their sense of vision, rather than imaging the
viewer as a pair of disembodied eyes that survey the work from a distance.
•…this insistence on the literal presence
of the viewer is arguably the key characteristic of installation art
Bishop
(2005) p 6
•
•…addresses the viewer directly as a
literal presence in the space…an embodied viewer whose senses of touch, smell,
and sound are as heightened as their sense of vision, rather than imaging the
viewer as a pair of disembodied eyes that survey the work from a distance.
•…this insistence on the literal presence
of the viewer is arguably the key characteristic of installation art
Bishop
(2005) p 6
Beginnings
•Western in its bias
•Beginnings in work of El Lissitzky,
Kurt Schwitters and
Marcel Duchamp
•Environments, happenings late 1950’s
•Minimalist sculpture 1960’s
•Rise to prominence from 1970’s, 1980’s
•“institutionally approved art form par
excellence of the 1990’s, …large museums
e.g see
works installed Turbin Hall
of Tate Modern etc
(Bishop,2005. p.8)
El Lissitzky, Proun Room
1923 (reconstructed 1965)
•Allocated small room in gallery decided
to use all 6 surfaces of room; walls, floor, ceiling
•Attaching reliefs, to make a unified
display
•Drew viewers in and encouraged movement
within space
•Thinking about space as “ that which is
not looked at through a keyhole’ but which surrounds the viewer. Rejecting
Renaissance ‘cone of perspective’ which fixes viewer in a single vantage point.
•Lissitzky argues “space does not exist for the eye
only : it is not a picture; one wants to live in it.
•…seeking a practical, utilitarian
revision of conventional perspective, so that space becomes not a pictorial
abstraction but a real arena in which every subject must act’…a blueprint for
activating and engaging the viewer in everyday life and politics.
•Bishop (2005) p.80-81
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| I like this style of installation art, its visually entreating but also allows the view restrictions to the traditional style art which makes you think. |
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| I get her point of challenging the male gaze, I would feel that every time she was touched it must effect you and strip you away, as this is so intrusive and I feel abused. |
 |
I found the art instillation video of in the kitchen bizarre, maybe I dont get alot of these performances. |
Art
criticism, text and practice (1)
Amelia
Jones: Curating in Feminist Thought
Homework
– Jones lecture discusses three time periods of feminist practices and explores
specific curated/group exhibitions within these time frames. Select one
exhibition from each time period and share key points Jones makes.
time periods
1
2
3
In
pairs brainstorm/map questions you have about the viewing of art.
Think
about questions that consider social, political, cultural and historical
contexts.
Think
about questions you have in your own practice.
Consider
questions about the production of meaning, knowledge,
Consider
institutional contexts e.g. museums, art galleries
Consider
the role of the viewer e.g
participation, collaboration, witness
Consider
accessibility
•
•
•
•
•
•Select one question from previous
discussion and visit the SIT Library and locate a text that informs this
question.
•Bring to class next week to share.
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