READING NOTES FOR INTRODUCTION

Prepared (late at night—forgive me) by Rachel Williams

1.Current global culture post 911 (us and them)

Market system- rich get richer- class is an issue

Context vs. content providers=Artists presented by Kester

2. WochenKlausur

3. Modernist art parallel- to aesthetic experience can take us beyond and away from our everyday world of ideas-challenge the status quo

4. Suzanne Lacy-How did The Roof is On Fire disrupt peopleÕs everyday assumptions?

5. What was the Òconcrete interventionÓ here?

6. Images of Hannah Hoch and John Heartfield

   See the following websites:

http://hannahhoch.com/hhindex2.html

http://www.yellowbellywebdesign.com/hoch/painters.html

ÒTaking photographs from magazines such as Biz, form whom she worked, she juxtaposes the modern German-woman with the colonial German woman. In doing so she challenged cultural representations of women raising questions regarding women's sexuality as well as their gender role in this new society. Through her images Hoch creates an unsettling view as she addresses the fears, and hopes for new possibilities for the modern German women. Taking photographs from magazines such as Biz, form whom she worked, she juxtaposes the modern German-woman with the colonial German woman. In doing so she challenged cultural representations of women raising questions regarding women's sexuality as well as their gender role in this new society. Through her images Hoch creates an unsettling view as she addresses the fears, and hopes for new possibilities for the modern German women.Ó

John Heartfield-Dada artist and social activist

http://www.towson.edu/heartfield/2.html

7. All examples of artists challenging the status quo

8. Conversation as the work itself-it is not about an object it is the object

9. Questions at the bottom of page 8

10. Conversation can be a successful form of communication

11. Art can make us think differently than we might otherwise does it have to be shocking, elite, or unapproachable to be art?

12. Allan Kaprow

ÒHappenings, such as Household from 1964, were held in physical environments – loft spaces, abandoned factories, buses, parks, etc. – and brought people, objects, and events in surprising juxtaposition to one another. Kaprow views art as a vehicle for expanding our awareness of life by prompting unexpected, provocative interactions. For Kaprow, art is a continual work-in-progress, with an unfolding narrative that is realized through the active participation of the audience.Ó http://www.artmuseum.net/w2vr/timeline/Kaprow.html

http://www.geocities.com/Athens/Acropolis/5422/kaprow.html

DOES Art Have to be in a gallery or museum? If it is not how do we recognize it as art?

 

13 Who is Clement Greenberg? (Modernist art critic-loved color field painting)

14. What can an aesthetic experience produce?

15.DIALOGICAL ART PRACTICE- is it art?

16. Abandon passive looking

17.art vs. political activism (p.11)

18.What are the characteristics? How do critics discuss it?

19. How can one keep art from being popularized by the masses (13)

20. The move away from object-based practices

21. Durational Vs. instantaneous exp.

22. Jurgen Habermas

Habermas has criticized modern industrial societies for excessive emphasis on instrumental action, i.e., on doing whatever is necessary to attain given ends. His emphasis, he argues, has prevented them from appreciating the importance of communicative action, which is understanding and coming to agreement with others. (See Frankfurt School for more information>critical theory see

http://www.uwec.edu/ranowlan/intr_whystudy_crit_thy.htm)

23. How does a critic function with dialogic art?