scholarly journals Easy but not weightless – Pop Art, conceptual art, and politics: the progressive art of Miklós Erdély and Tamás Szentjóby in the second part of the 1960s

KÜLÖNBSÉG ◽  
2012 ◽  
Vol 12 (1) ◽  
Author(s):  
Péter Kőhalmi
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Pop Art ◽  
The Political ◽  
Art And Politics ◽  
Art Scene ◽  
The 1960S

Miklós Erdély’s theory of freedom can be analysed from the perspective of his general thoughts on the dichotomy of life and freedom.  However, the article focuses on the problem of Erdély’s theory of freedom in the context of the political. If, as he claims, freedom exists in art, then what is the relation of his art to the political, the actual conditions of freedom? This question can only be explored if his work is seen in context, in the context of the contemporary art scene of the 1960s. The paper claims that in comparison with the early neoavantgard art of Szentjóbi Tamás and company, Erdély’s work is tame or easy but surely not weightless.

scholarly journals SPACE AS A CONTEXT IN DANIEL BUREN’S ART

2021 ◽  
Vol 11 (1) ◽  
pp. 301-322
Author(s):  
Tuğba RENKÇİ TAŞTAN
Keyword(s):  
World War Ii ◽  
Conceptual Art ◽  
World Order ◽  
Art World ◽  
Artistic Practice ◽  
Innovation Development ◽  
Traditional Art ◽  
The Social ◽  
Art Scene ◽  
The 1960S

20th century; it is a period in which two world wars took place and a new world order in human history occurred in many areas of innovation, development and transformation. After the war, the meaning, content and boundaries of art and the artist have been discussed, expanded and gained a new dimension and acceleration with the deep changes in the social, economic, political and cultural fields with the crisis brought on by the war. This complex period also manifested itself in the traditional art scene in France. The French artist Daniel Buren (b. 1938) has witnessed this process; by adopting the innovations in art with his productions, he has demonstrated his space-oriented conceptual works dating back to the present day in a period in which daily life accelerates with the mechanization of art practice and conceptual art movements are in succession. In this article, in order to comprehend the point of the artist and his productions from the beginning until today; the cultural environment in France after the World War II, the developments in the art world, the changes in the social field and the artistic dimensions of these changes are mentioned. The development and practices of the French artist Daniel Buren's artistic practice, policy, artistic attitude and style for the place, architecture, workshop and museum in the period from the second half of the 1960s to the present day are examined with examples with certain sources. In this context, the views and concepts that the artist advocates with his original productions are included. Finally, in the research, the evaluations were made in line with the sources and information obtained about the art adventure and development of the artist, and the innovations, contributions and different perspectives he offered about the art are discussed.

Response/Abilities of Seeing

2019 ◽  
pp. 1-16
Keyword(s):  
Contemporary Art ◽  
Political Engagement ◽  
The Political ◽  
Theoretical Underpinning ◽  
The 1960S

By considering John Cage's re-phrasing of 'responsibility' as 'response-ability', and thus foregrounding political engagement as requiring aesthetic capabilities and sensibilities, alongside Victor Burgin's extended explorations of the specificities of both making and viewing an artwork, the introduction undertakes two key functions. Firstly, it sets out the context for the book, which concerns Burgin's sustained reading of Barthes, begun in the 1960s, and how we understand images/imaging/Image. Secondly, in dialogue with this context, the chapter establishes the key operative themes and terms operative in the book as a whole. In attempting to set out its theoretical underpinning, the chapter ranges over issues of the political aesthetic, spatial/temporal ethics, the generative capacities of visualisation technologies, and contemporary spectatorship, particularly in relation to contemporary art.

New formats, new roles, new agents: Artists’ publications in Spain since 2000

2013 ◽  
Vol 38 (3) ◽  
pp. 18-29
Author(s):  
Mela Dávila Freire
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Golden Age ◽  
Sources Of Information ◽  
New Agents ◽  
Public And Private ◽  
Art Scene ◽  
The Media ◽  
Spanish Art ◽  
The 1960S

Half a century after the 1960s, commonly considered to have been the period when artists’ publications expanded and consolidated, this genre seems to be experiencing a new ‘golden age’. In recent years, the number of books and printed matter produced by artists has grown exponentially, and so has the interest in them demonstrated by exhibition curators, public and private collectors, and even the media. The contemporary art scene in Spain is not immune to this phenomenon. On the contrary, over the last decade, artists’ publishing has undergone an explosion in quantity, quality and impact with no precedents in Spanish art history. The causes for such an explosion and its main traits are explored here, focusing on a number of significant examples and protagonists. Relevant sources of information documenting its course are offered, both online and in print.

NON-INDISPUTABLE RELATIONS: SELECTED RELATIONS OF CONCEPTUAL ART AND PERFORMANCE (PART ONE)1

2019 ◽  
Vol 26 (26) ◽  
pp. 74-83
Author(s):  
Andrzej Kostołowski
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Left Behind ◽  
Performance Artists ◽  
Emotional Role ◽  
The Difference ◽  
And Performance ◽  
The 1960S ◽  
The One ◽  
Analytical Index

The text concerns two major concepts in the art of the last half of this century: conceptual art and performance. Conceptual art, which crystallized in the 1960s, has become one of the fundamentally seminal movements in contemporary art. Performance – a phenomenon with long history, since 1970s has been treated as an independent art genre. These two phenomena happen to be merged in various context; both feature an approach directed against the commoditization of art. However, in other areas and contexts crucial differences between these concepts can be perceived. Conceptual artists have adopted an analytical-index relation to objects in their approach. During performances objects often play a major (also emotional) role, being left behind as documentation. Conceptual art, distancing itself from the so called “retinal art”, i.e. the one that pleases the eye, has adopted utilization of texts or other linguistic materials as an important method of expression. For performance artists (except for performance lecturers), texts and descriptions are located on the outskirts, i.e. as plans preceding actions and descriptions following them. The discussed disciplines of art differ in their approach to media, as well: conceptual art treats them purely functionally, in performances they are of bigger importance, for example combined with multimedia. The conclusion attracts attention to the complicated relations between the two concepts: conceptualism and performance art, taking into account related activities in the 1970s and the difference in approach in the successive years.

Niebezsporne związki: Niektóre relacje sztuki konceptualnej i performansu (część pierwsza)

2019 ◽  
Vol 26 (26) ◽  
pp. 74-83
Author(s):  
Andrzej Kostołowski
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Left Behind ◽  
Performance Artists ◽  
Emotional Role ◽  
The Difference ◽  
And Performance ◽  
The 1960S ◽  
The One ◽  
Analytical Index

The text concerns two major concepts in the art of the last half of this century: conceptual art and performance. Conceptual art, which crystallized in the 1960s, has become one of the fundamentally seminal movements in contemporary art. Performance – a phenomenon with long history, since 1970s has been treated as an independent art genre. These two phenomena happen to be merged in various context; both feature an approach directed against the commoditization of art. However, in other areas and contexts crucial differences between these concepts can be perceived. Conceptual artists have adopted an analytical-index relation to objects in their approach. During performances objects often play a major (also emotional) role, being left behind as documentation. Conceptual art, distancing itself from the so called “retinal art”, i.e. the one that pleases the eye, has adopted utilization of texts or other linguistic materials as an important method of expression. For performance artists (except for performance lecturers), texts and descriptions are located on the outskirts, i.e. as plans preceding actions and descriptions following them. The discussed disciplines of art differ in their approach to media, as well: conceptual art treats them purely functionally, in performances they are of bigger importance, for example combined with multimedia. The conclusion attracts attention to the complicated relations between the two concepts: conceptualism and performance art, taking into account related activities in the 1970s and the difference in approach in the successive years.

Stoffbilder: On Capitalist Realisms

ARTMargins ◽  
2015 ◽  
Vol 4 (3) ◽  
pp. 81-102
Author(s):  
Andrew Stefan Weiner
Keyword(s):  
Contemporary Art ◽  
North Atlantic ◽  
Cultural Theory ◽  
Art Market ◽  
Pop Art ◽  
West Germany ◽  
Historical Scholarship ◽  
The North ◽  
The North Atlantic ◽  
The 1960S

This essay critically examines the exhibition Leben mit Pop: Eine Reproduktion des Kapitalistischen Realismus, which was first staged in 2013 at the Kunsthalle Düsseldorf. This exhibition surveyed the emergence of Capitalist Realism as a regional form of Pop Art in West Germany during the 1960s. The article evaluates Leben mit Pop as a modification of established art historical scholarship and as an intervention within ongoing debates in curatorial practices and critical cultural theory. It aims to resituate Capitalist Realism relative to the consolidation of the North Atlantic art market, arguing that this allows for a more incisive account of its relevance to contemporary art.

scholarly journals Konstmässan och barn: Pilvi Takalas The Committee

2014 ◽  
Vol 42 (118) ◽  
pp. 175-192
Author(s):  
Saara Hacklin
Keyword(s):  
Lived Experience ◽  
Contemporary Art ◽  
The Political ◽  
Political Dimension ◽  
Participatory Art ◽  
Avant Garde ◽  
Socially Engaged Art ◽  
The Arts ◽  
The Spectator ◽  
The 1960S

Participation has become a popular strategy within contemporary art. Previously, it has been associated with avant garde art, yet nowadays it has become central strategy in the arts, often favored by politicians and other funders. As a result, participatory art finds itself in a strategy becomes unreflected. Phenomenology, and especially Maurice Merleau-Ponty's philosophy, has been mostly associated with the 1960s Minimalism, as it influencedAmerican artists to explore the position of the spectator and the lived experience of the artwork. However, as phenomenology was associated with modernism, it has been often deemed insufficient to address the political dimension of contemporary art from the late 1960s onwards. In order to find a way to connect the apolitical phenomenology of the 1960s minimalism to the political art of today, I discuss a case study of Pilvi Takala's (b. 1980) The Committee (2013). With this piece Takala won the Emdash prize at Frieze art fair in London. The work consisted of a simple gesture: in it she gave, 7.000 pounds, most of the production budget included in the prize to a group of children. The children could freely use the money as long as they made the decision together. The Committee brings together children and money at an art fair, using the strategies of socially engaged art. In the article I examine the piece from a phenomenological vantage point in order to understand the different levels of the work.

scholarly journals Из истории Людвиг Музеум – от коллекции к музею

2021 ◽  
pp. 164-175
Author(s):  
E.V. Orlova
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Art History ◽  
Pop Art ◽  
Avant Garde ◽  
German Art ◽  
The Status ◽  
Museum Of Contemporary Art ◽  
The 1960S

The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.

scholarly journals What happened to aesthetics and art over the last 100 years?: Contradictions and antagonisms: Theory wars!

2019 ◽  
Vol 11 (2) ◽  
pp. 235-246
Author(s):  
Miško Šuvaković
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Art Theory ◽  
Modern Culture ◽  
Art And Politics ◽  
Avant Garde ◽  
Minimal Art ◽  
The Subject ◽  
The Aesthetic ◽  
The Relationship

The subject of my paper is the dynamic and transformational relations between aesthetics and art from 1919 to 2019. The first problem to be discussed will be the relationship between art and politics at the Bauhaus and art institutes of the Soviet avant-garde. Next, I will point to differences in Marxist concepts of socialist realism and critical theory on modern culture and art. I will analyse the relationship between the concept of the autonomy of art, especially painting and minimal art. A comparison will be derived between anti-art (Dada, NEO-Dada) and anti-philosophy (Friedrich Nietzsche, Ludwig Wittgenstein, Jacques Lacan). I will highlight approaches from analytical meta-aesthetics to the interpretation of Duchamp's readymade, deriving a theory of art in conceptual art. Special attention will be paid to the "theoretical conflicts" between phenomenology and structuralism, as well as poststructuralism. I will conclude my discussion by identifying the "aesthetic condition" in relation to "contemporary art" (feminist, activist, political, ecological, participatory, and appropriative art). The aim of my discussion will be to highlight the character of modern and contemporary aesthetics in relation to art theory, by way of diagrammatic reflection on the binaries, differences, and reconstructions of dialectics.

Introduction

2012 ◽  
Keyword(s):  
New York ◽  
Pop Art ◽  
Independent Group ◽  
Women's Art ◽  
Cultural Ideals ◽  
Art Scene ◽  
The 1950S ◽  
Post War ◽  
Art And Society ◽  
The 1960S

Lawrence Alloway (1926–1990) can be considered one of the founders of contemporary cultural ideals. One of the most esteemed art critics of the post-war years, Alloway was significantly involved with both the Independent Group and the Place and Situation painters in London during the 1950s. At the beginning of the 1960s, he moved to New York, where he became a leading interpreter of Pop art, ‘systemic’ abstraction, and the realist revival as well as women's art. He wrote more than 800 texts ranging from books to reviews and catalogues essays and displayed wholehearted commitment to pluralism and diversity in both art and society. In post-war London, Alloway witnessed an art scene that was impoverished but received a boost from the newly elected Socialist government's emphasis on culture. Art News and Review, a magazine launched by Richard Gainsborough in 1949, proved invaluable to Alloway as an aspiring art critic in the post-war years in London.

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