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.

Brer Soul and the Mythic Being

2018 ◽  
pp. 76-98
Author(s):  
Tavia Nyong'o
Keyword(s):  
Performance Art ◽  
Conceptual Art ◽  
Gender And Sexuality ◽  
And Performance ◽  
The 1960S

Challenging accounts of black gender and sexuality that equate radicalism with misogynistic and patriarchal values, this chapter looks to the subversive cinema and performance art of the 1960s for prefigurations of the gender and sex nonconformity of today. Placing in counterpoint the theater and cinema of Melvin van Peebles and the performance and conceptual art of Adrian Piper, this chapter foregrounds the role of a funk epistemology in both cases. Contemporary queer and transgender art and aesthetics can only gain, this chapter argues, by acknowledging these works as sources of fabulation.

scholarly journals The Revolution Will Be Performed. Cameras and Mass Protests in the Perspective of Contemporary Art

2015 ◽  
Vol 10 (1) ◽  
pp. 7-23
Author(s):  
Katarzyna Ruchel-Stockmans
Keyword(s):  
Mobile Phone ◽  
Contemporary Art ◽  
The Other ◽  
Image Production ◽  
And Performance ◽  
The One ◽  
New Situation ◽  
The Way ◽  
The Revolution

Abstract This article offers an analysis of Videograms of a Revolution (1992) by Harun Farocki and Andrej Ujica and The Pixelated Revolution (2011) by Rabih Mroue, which both reflect on the role of amateur recordings in a revolution. While the first deals with the abundant footage of the mass protests in 1989 Romania, revealing how images became operative in the unfolding of the revolution, the second shows that mobile phone videos disseminated by the Syrian protesters in 2011 respond to the desire of immediacy with the blurry, fragmentary images taken in the heart of the events. One of the most significant results of this new situation is the way image production steers the comportment of people involved in the events. Ordinary participants become actors performing certain roles, while the events themselves are being seen as cinematic. This increased theatricality of mass protests can thus be seen as an instance of blurring the lines between video and photography on the one hand and performance, theatre and cinema on the other.

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.

Conceptual and Performance Interventions

Collections ◽  
2011 ◽  
Vol 7 (4) ◽  
pp. 405-414
Keyword(s):  
Public Space ◽  
Conceptual Art ◽  
Curatorial Practice ◽  
1960S And 1970S ◽  
And Performance ◽  
Performance Interventions ◽  
The 1960S

Considers a variety of examples in which curatorial practice intersects and blurs with interventionism in art, including using billboards as a medium for artistic interference in public space (Shaked), translating and re-activating Regina Galindo's activist performances (Carolin), analyzing the overlapping and divergent agendas of conceptual art and curatorial practice in Zagreb and Paris during the 1960s and 1970s (Bago), and the “re-possession of perception” through curating carnival and procession (Tancons).

Introduction

2017 ◽  
Author(s):  
Nizan Shaked
Keyword(s):  
Civil Rights ◽  
Identity Politics ◽  
Conceptual Art ◽  
Gay Liberation ◽  
Political Issues ◽  
Multiple Identity ◽  
Lorna Simpson ◽  
The 1960S ◽  
The One ◽  
Definition Of

The introduction addresses two intersecting trajectories in American art between the late 1960s and the early twenty-first-century century. On the one hand, it traces the ways in which disciplinary Conceptual Art, with a capital “C”, expanded into the diverse set of practices that have been characterised generally as conceptualism. On the other hand, it shows how the expansion of a critical conceptualism has been strongly informed by the turbulent rights-based politics of the 1960s. Initially, first generation Conceptual artists responded to preceding art movements within disciplinary boundaries, examining the definition of art itself and engaging abstract concerns. Artists then applied the basic principles of Conceptual Art to address a range of social and political issues. This development reflects the influence of Civil Rights, Black Power, the student movement, the anti-war movement, second wave feminism, and the gay liberation movement. Central in the American context, the multiple identity-based mobilisations that came to be known as “identity politics” were further articulated in the 1970s. The artists addressed in this book: Adrian Piper, Joseph Kosuth, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Andrea Fraser, Hans Haacke, and Charles Gaines expanded the propositions of Conceptual Art.

scholarly journals The Aesthetics of Relations: The Modernist, Contemporary and Post-Contemporary General Conceptualizations of Art

2019 ◽  
pp. 119
Author(s):  
Kaja Kraner
Keyword(s):  
Contemporary Art ◽  
Aesthetic Experience ◽  
Avant Garde ◽  
Social Mediation ◽  
Aesthetic Appearance ◽  
The Status ◽  
Cultural Texts ◽  
The Difference ◽  
Mutual Relations ◽  
The One

The article will juxtapose the modernist, contemporary and post-contemporary general conceptualization of art and aesthetic appearance of an artwork. Even though all three conceptualizations can be understood as intertwined because they are largely established in mutual relations, for our purpose they will be analyzed in terms of the basic epistemological terrain on which art enters the Western tradition of knowledge and power: the terrain of aesthetic education. The conceptualization of modernist art/artwork will mainly draw from its link with the autopoietic image of artwork/artistic creativity that can be traced to Romanticism as well as the tradition of the so-called aesthetics of form at the beginning of the 20th century, while conceptualization of contemporary art will be primarily reconstructed on the ground of cultural studies and its reception theory that focused on the analysis of social mediation of cultural texts where the text itself loses the status of an exclusive source of meaning. On the one hand, this article attempts to expose the difference between the two by focusing on conceptualizations of their modes of production of meaning (modernist autopoiesis as producing the artwork’s meaning by, through and of itself versus contextually determined meaning of the artwork within conceptualizations of contemporary art), while on the other, it will expose a general aesthetic appearance of the two based on the differentiation of avant-garde and dialogical aesthetics. From there on, the article will focus on conceptualizations of post-contemporary art in the last ten years that also offered a critique of how contemporary art has been (self)limited to aesthetic experience and by it the present time. In the final part, post-contemporary art will be compared with modernism, for instance in terms of the modernist aim for the transcendent standpoint and its methods of aesthetic alienation in contrast to the post-contemporary aim to eliminate aesthetic experience as such and demonstrate that there can be knowledge without aesthetic experience, or the modernist media research to the post-contemporary media archaeology. Article received: April 30, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Review articleHow to cite this article: Kraner, Kaja. "The Aesthetics of Relations: The Modernist, Contemporary and Post-Contemporary General Conceptualizations of Art." AM Journal of Art and Media Studies 19 (2019): 119-126. doi: 10.25038/am.v0i19.312

scholarly journals Performer’s Body: Cross-Gender Casting as an Estrangement Technique in Theatre

2020 ◽  
Vol 15 (3) ◽  
Author(s):  
Ognjen Obradović
Keyword(s):  
Gender Studies ◽  
Gender Effect ◽  
Social Constructs ◽  
New Meanings ◽  
The Cross ◽  
The Difference ◽  
And Performance ◽  
And Gender ◽  
The One ◽  
Male To Female

The main thesis of the present article is that cross-gender casting can function as a Brechtian estrangement technique, an approach which denaturalizes gender and other social constructs. The term “cross-gender casting” is preferred to the term “travesty”, which is mainly used by Serbian theatre critics, because it is more precise and refers directly to gender studies. The theoretical framework of our analysis is constituted by theatre and performance studies on the one hand, and gender studies on the other. The concept of performance introduced by Erica Fischer-Lichte helps us to understand the tension between the “phenomenal body” and the “semiotic body” of the performer, which is increased by cross-gender casting. The result of this tension is the phenomenon we call “cross-gender effect”. The new amalgam-body is best described as queer because it is simultaneously perceived as both male and female. The ambivalent impact it has on the audience could be understood through the concepts of otherness and Julia Kristeva’s abjection. In order to explain the difference between male-to-female and female-to-male cross-gender casting, we discuss two Serbian performances: Gospođa Ministarka / Mrs Minister (Boško Buha Theatre, 2013) and Skup (Yugoslav Drama Theatre, 2002). The cross-gender effect is more intense in the first example because female physical bodies are generally more easily absorbed by male semiotic bodies. By its capacity to denaturalize “the normal” in the patriarchal worlds of Nušić and Držić, the cross-gender technique brings about new meanings, some of which may even have eluded the creators of the analyzed performances.

scholarly journals Installation or Conceptual Art Project with the Ceramics Phenomenon, but How and when?

2017 ◽  
Vol 1 (1) ◽  
pp. 38
Author(s):  
Güngör Güner
Keyword(s):  
Art Education ◽  
Contemporary Art ◽  
Conceptual Art ◽  
Remarkable Difference ◽  
Human Beings ◽  
Concept Art ◽  
The Difference ◽  
Creative Will

With its formation, going back to thousands of years ago, ceramic is a material fact that the human beings obtain from earth for their emergency needs at first and by time for their different rituals and artistic requirements. Whether it is primitive or developed, ceramic formation requires energy and technology. And once ceramic is obtained, it resists time for thousands of years. Therefore, we have to be very selective when making ceramics. As ceramic artists, we always feel the breath of the tradition of thousands of years on our necks even if we want or not. Contemporary art trends show up one after another and disappear after a while. Meanwhile, “Is ceramic an art or a craft?” discussions are brought to agenda. Ceramic artists with a contemporary art education background may tend to keep up with the contemporary art trends because of the pressure caused by these discussions and the dominance of tradition. Among these art movements, Concept Art and Installation under its context still maintain their currency as the most long-lasting one in recent years. Concept is a most important part of the Conceptual Art Project. All materials or finished products that are created or will be created can be an expression tool for the artists. There is no limit here. However, knowing ceramic fact well can provide the ceramic artist with a chance to differentiate. For this reason, I believe that the ceramic artist’s concern should be creating ideas that underline being different in the context of ceramic. Using ceramics will be more meaningful if the ceramic object used in the artwork can not be replaced by another object and if the concept changes when the ceramic object is replaced... Ceramic object should challenge as follows: “This concept can be expressed only if I am used here. ” ….. Forcing ceramic artist to be more creative will prevent the artist from imitation of an ordinary concept art or installation and will add variety to concept art by creating remarkable difference. Surely, this requires a more powerful mind exercise. However, this is the only way ceramic and ceramic artist can accomplish their mission and underline the difference.

A Modification of the Payne-Jones Method of Identifying Abnormal Differences in WISC-R Performance and Verbal IQ's

1996 ◽  
Vol 12 (1) ◽  
pp. 27-32 ◽  
Author(s):  
Louis M. Hsu
Keyword(s):  
Full Scale ◽  
True Score ◽  
Verbal Iq ◽  
Score Difference ◽  
The Difference ◽  
And Performance

The difference (D) between a person's Verbal IQ (VIQ) and Performance IQ (PIQ) has for some time been considered clinically meaningful ( Kaufman, 1976 , 1979 ; Matarazzo, 1990 , 1991 ; Matarazzo & Herman, 1985 ; Sattler, 1982 ; Wechsler, 1984 ). Particularly useful is information about the degree to which a difference (D) between scores is “abnormal” (i.e., deviant in a standardization group) as opposed to simply “reliable” (i.e., indicative of a true score difference) ( Mittenberg, Thompson, & Schwartz, 1991 ; Silverstein, 1981 ; Payne & Jones, 1957 ). Payne and Jones (1957) proposed a formula to identify “abnormal” differences, which has been used extensively in the literature, and which has generally yielded good approximations to empirically determined “abnormal” differences ( Silverstein, 1985 ; Matarazzo & Herman, 1985 ). However applications of this formula have not taken into account the dependence (demonstrated by Kaufman, 1976 , 1979 , and Matarazzo & Herman, 1985 ) of Ds on Full Scale IQs (FSIQs). This has led to overestimation of “abnormality” of Ds of high FSIQ children, and underestimation of “abnormality” of Ds of low FSIQ children. This article presents a formula for identification of abnormal WISC-R Ds, which overcomes these problems, by explicitly taking into account the dependence of Ds on FSIQs.

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