Greg Nov. 26: The '80s

For Greg's discussion group on Nov. 26, we'll be talking about the exhibit "This Will Have Been: Art, Love & Politics in the 1980s" at the ICA. Read pages 14 to 19 of the essay plus one of the other four sections. (In your written response, be sure to address both sections that you read.)

Some questions to consider: What are some of the main subjects or themes of the 1980s for curator Helen Molesworth? Which 1980s artists exemplify them for her? How do these subjects and themes continue to echo through or influence art and society today? Is Molesworth's history of the 1980s subjective or objective? How can you tell? What does it mean for a museum like the ICA to present a subjective or objective history of a decade? Is there art/creativity from the 1980s that is missing from Molesworth's version of the 1980s?

Pictured at top: David Hammons, "How Ya Like Me Now?," 1988. Tin, plywood, sledgehammers, Lucky Strike cigarette wrapper, and American Flag painting. 158 x 180 inches. Glenstone. Photo: Tim Nighswander/Imaging4Art.

Above: Donald Moffett, "Call the White House," 1990. Ciba transparency on light box. 40 ½ x 60 ½ x 6 ¾ inches. Courtesy of the artist and Marianne Boesky Gallery.

Guidelines for End of Semester Presentations

Some more info on End of Semester Presentations.... 

(Previous info here.)

 

1.  Presentations should be approximately ten minutes long and should include at least 6-10 images. Your presentations will be graded on research, quality of visual presentation and the quality of the oral presentation. Presentations are given to the entire SFAS, which includes all discussion groups.

 

2. Practice your presentation and prepare your visual materials with care. Students using digital presentations should format their presentations in some form of presentation software such as PowerPoint, iPhoto, or Keynote. Use video in your presentations only when it's vital to presenting the work at hand--such as performance or video art, or video tours through installations, sculptures or architecture. Video should not supplant your own description and discussion of the art. In other words, don't show a video that profiles the artist, that's your assignment.

 

3. FIRST SEMESTER SENIORS

Present the work of a living artist. Choose examples of your chosen artist’s work and explain the ideas the artist is exploring. You may not choose an artist you have written about in research papers for this or other classes.

 

4. SECOND SEMESTER SENIORS

Present your own work. Imagine you are giving a visiting artist talk. Your presentation should consist of a body of work. Do not show a selection of work from the 4 years at school. Be prepared to talk about each image. You are also required to provide a disk with the images from your presentation along with a resume file to the seminar instructor.

 

 

Consult Ethan Berry about availability of equipment and set up. Arrive early, prepare your presentation and test the equipment.

 

Greg Nov. 19: Story Time

For Greg's discussion group on Nov. 19, we'll be talking about

= "Politics and Protest in Papier-Mache Heads"
= "Spectacle for the Heart and Soul"
= Nathalie Djurberg
= "Spirited Away: A Magical Dot Over in the Corner"
= "Ori Gersht's post-traumatic stress"(An excerpt of one of his videos is above)

Some questions to consider: What are the various ways these artists use narrative or story? How does story help them convey ideas, moods, emotions? Do you find some ways more effective than others? Why? What makes this work different from traditional narratives? These artists highlight imagery. How does the addition of time and motion change the way this imagery works and affects the audience?

Caroline's readings for Weds Nov 14th and Mon Nov 26th

Caroline's readings for Weds Nov 14th and Mon Nov 19th and Mon Nov 29th

Readings for Weds Nov 14th and Mon Nov 29th

Buskirk, Martha, Creative Enterprise: Contemporary Art between Museum and Marketplace, Continuum, 2012, pp 1 - 23

Readings for Mon Nov 19th

Photography Readings see previous post