Art and it's Institutions

Hans Haacke



The Boardroom, 1987, Antoni Muntadas

Can and is the Institution ever not connected with a monetary purpose or goal?

How has globalization altered the institution?

Globalism

Santiago Sierra



Juan Munoz



Andreas Gursky

I understand the cultural restrictions globalism has lifted. People now embrace there heritage whether from Estonia or Dubai. In fact it seems in the current art world to be American or European is boring, not enough flavor. In the art world, is there much cultural american pride?
As a country that is made up of hundreds of origins, can we really have a profound cultural base or just a specific way of life we are accustomed to?

Please look at February 28th's post of Kimsooja's video.

Does globalism, precisely because of its long reach, allow a viable alternative to violent action and open the doors to peaceful protest that will be heard? ex. Eugenio Dittborn and Cildo Meireles Or is that still a fairy tale?

If a person is restricted from leaving their country, is the internet sufficient in truly letting them engage and discover other lands and cultures? How much can a computer screen fill in for real life? (I realize this is a very privilege question to be asking)

Lee - " This 'atmosphere compounded of artistic theories' must be ready for the day when the art world's traditional borders are indivisible from those of the global order we are inclined merely to portray."
From Lee's statement above, if the borders between the art world and the 'real' world are indivisible, how will or can art be avante garde?

What does Contemporary Jewelry Mean? by Benjamin Lignel

http://www.grayareasymposium.org/jewellery/en/

Art, the Body and Identity

The total situation of art making, both in terms of the development of the art maker and in the nature and quality of the work of art itself, occur in a social situation, are integral elements of this social structure, and are mediated and determined by specific and definable social institutions, be they art academies, systems of patronage, mythologies of the divine creator, artist as he-man or social outcast. - Linda Nochlin






Barbara Kruger






Ana Mendieta






Orlan

Is there a difference between body art and adornment?

Can the figure still represent the idea of beauty?

What does the body represent outside of the sexual sphere?

What cultural representations does the body hold outside of sexuality?

Can the body be present without political significance?

Can the body ever be neutral? And if so, how?

In it’s absence can the body still be present? (ex. Barbara Kruger)

Can the body be separate from identity?

In every instance, women artists and writers would seem to be closer to other artists and writers of their own period and outlook than they are to each other.

Identity, is there a distinct line between gender and time period?
-bumper sticker: Well- behaved women seldom make history

Thus the question of women's equality--in art as in any other realm--devolves not upon the relative benevolence or ill-will of individual men, nor the self-confidence or abjectness of individual women, but rather on the very nature of our institutional structures themselves and the view of reality which they impose on the human beings who are part of them. As John Stuart Mill pointed out more than a century ago: "Everything which is usual appears natural. The subjection of women to men being a universal custom, any departure from it quite naturally appears unnatural . . . . unlike other oppressed groups or castes, men demand of them not only submission but unqualified affection as well; thus women are often weakened by the internalized demands of the male-dominated society itself, as well as by a plethora of material goods and comforts: the middle-class woman has a great deal more to lose than her chains. - Linda Nochlin .

Post-humanism

Patricia Piccinini



Alexis Rockman



Lee Bul






Rebecca Horn

As organisms that experience the everyday in our flesh and blood bodies, what would happen to our existence and comprehension of the day to day if that was suddenly taken away? Would there be a day to day?

Most specifically, what, if any, emotion would remain?
- What and is there a quality of life if outside of the cerebral, emotion is extinct?

Does strengthening and improving the function of our mind equate to better quality of life?

With the tuning and perfecting of physical precision, does a more peaceful or violent society follow?

With the ever growing gap of socio-economic groups, what determinate would the pervasive use of trans-humanism cause to an already shaken, biased, and volatile, homo sapien community?

Gabriel Orozco

Art and Abstraction

Agnes Martin


Agnes Martin - ' He is a an art of constant restlessness, an art that despite its pure appearance, is never in fact about perfection.' 242, Pictures of Nothing

- Is that in itself abstraction or representation? Implicitly nature may seem perfect but is full imperfection and yet it can be illustrated or represented as perfect. Is Martin a follower of teleology?

'The narrow intention of what brings an artist to the canvas does not control meaning nearly as much as does the material existence of the picture itself.' 251, Pictures of Nothing.

- Material existence, at what point does an object represent an abstract visual experience and at what point does the painting/object represent solely the material and there for a representation of a materials existence?

'It is our dependence on the material and experiential dimension of art to yield meaning that sets it apart so sharply from other symbolic systems that we use, most notably language. For a long time now art has been analyzed in terms of semiotics . . ' 252, Pictures of Nothing

- Is abstraction an attempt to break away from visual semiotics, even though it has created its own system? Or is it an embrace of a purely visual language?



# 1 Seed, Ellsworth Kelly



Richard Deacon



Color and Information, 1998, Terry Winters






Encore, 1996, Bernard Frize



Gunther Forg



Selection, 1999, Ross Bleckner

Art and Representation

Untitled (Ohne Titel), 1996, Martin Kippenberger,
Oil on canvas, 70 7/8 x 59 1/16 in.







Tia, Amsterdam, the Netherlands, 14 November 1994, Tia, Amsterdam, the Netherlands, 23 June 1994, Rineke Dijkstra





Agora, Thomas Ruff




When is imitation ever truthful?

When and is representation truthful?

In art, is there a definitive difference between imitation and representation?

Muniz " I don't want the viewer to believe in my images; I want him or her to experience the extent of his or her own belief in images - period." 97.

Hilla Becher " For me, photography is by its very nature free of ideology. Photography with ideology falls to pieces." 108








Atlas, Gerhard Richter

frittata internacionale