Tuesday, July 22, 2008
Thursday, July 17, 2008
"All art is propaganda." -Eric Gill
Propaganda
1. Propaganda is information deliberately spread to help or harm a person, group, movement, institution, nation, etc. These ideas or rumors might serve positively or maliciously in the aims of individuals or groups.
2. Propaganda can also be the physical material distributed by the individuals or groups attempting to promote or oppose a doctrine or a cause.
Value
Gill defines the value of art in two ways.
1. Commerce value. "Commerce is the business of exchanging things, and no painter can eat a picture so he must exchange it for bread." In this way, Gill defines the commerce value of art in its capacity to have exchange value, in its worth in trade.
2. Studio value. "Of course the painter doesn't say to himself: now I'm going to do a spot of propaganda for the idle rich. He'd be ashamed to. So he has to wrap himself in art jargon instead, and talk about another kind of values-'tone values', 'formal relations', the relations of masses', and so his work becomes propaganda for studio values." Gill states the propaganda of the studio, of the creation of art and of the final product, also propose a set of values that propagate particular ideals, ideas and tenets of the work of art. These studio values encapsulate both the individual work of art, its relationship to the broader realm of the world of art, and potentially make a statement of beliefs that will be carried through the work.
Gill extends the paradigm of the value of art into society and culture. His ideas of propaganda transcend the individual art work and filter into the contemporary condition. The statements, manifestos and theses, of the art world do not exist in a vacuum. The artist is affected by the world and the world is affected by art.
1. Propaganda is information deliberately spread to help or harm a person, group, movement, institution, nation, etc. These ideas or rumors might serve positively or maliciously in the aims of individuals or groups.
2. Propaganda can also be the physical material distributed by the individuals or groups attempting to promote or oppose a doctrine or a cause.
Value
Gill defines the value of art in two ways.
1. Commerce value. "Commerce is the business of exchanging things, and no painter can eat a picture so he must exchange it for bread." In this way, Gill defines the commerce value of art in its capacity to have exchange value, in its worth in trade.
2. Studio value. "Of course the painter doesn't say to himself: now I'm going to do a spot of propaganda for the idle rich. He'd be ashamed to. So he has to wrap himself in art jargon instead, and talk about another kind of values-'tone values', 'formal relations', the relations of masses', and so his work becomes propaganda for studio values." Gill states the propaganda of the studio, of the creation of art and of the final product, also propose a set of values that propagate particular ideals, ideas and tenets of the work of art. These studio values encapsulate both the individual work of art, its relationship to the broader realm of the world of art, and potentially make a statement of beliefs that will be carried through the work.
Gill extends the paradigm of the value of art into society and culture. His ideas of propaganda transcend the individual art work and filter into the contemporary condition. The statements, manifestos and theses, of the art world do not exist in a vacuum. The artist is affected by the world and the world is affected by art.
Wednesday, July 16, 2008
20 vocabulary words from labels_soojinRho
*/
Hello,
I wonder if it is correct for me to blog here;
Why doesn't anybody send your GMAIL address to Chelsea and register as a team member...
Anyway, I post here.
/*
Alphonse Mattia
America, B.1947
Architect's valet chair, 1989
1)Ebonize
:Stain black to make it look like ebony
2)Stain
:Color with a liquid dye or tint
ex)Stain this table a beautiful walnut color
ex)People knew how to stain glass a beautiful blue in the middle ages
3)High-spirited
1. Having a proud or unbroken spirit
ex)a high-spirited horse
2. Vivacious; lively
ex)a high-spirited tune.
4)Vibrant
1_1.Pulsing or throbbing with energy or activity
ex)the vibrant streets of a big city.
1_2. Vigorous, lively, and vital
ex)”a vibrant group that challenged the . . . system" Philip Taubman.
2. Exhibiting or characterized by rapid, rhythmic movement back and forth or to and fro; vibrating.
3. Produced as a result of vibration; resonant or resounding
ex)vibrant voices
4. Relatively high on the scale of brightness
ex)a vibrant hue
5)Bentwood
1. wood steamed and bent for use in furniture.
2. an article of furniture made of bentwood.
–adjective 3. of or pertaining to furniture made principally of pieces of wood of circular or oval section, steamed, bent, and screwed together
ex)a bentwood rocking chair.
6)Valet
1. a male servant who attends to the personal needs of his employer, as by taking care of clothing or the like; manservant.
2. a man who is employed for cleaning and pressing, laundering, and similar services for patrons of a hotel, passengers on a ship, etc.
3. an attendant who parks cars for patrons at a hotel, restaurant, etc.
4. a stand or rack for holding coats, hats, etc.
7)Animated
1. full of life, action, or spirit; lively; vigorous
ex)an animated debate on the death penalty.
2. made or equipped to move or give the appearance of moving in an animallike fashion
ex)animated puppets.
3. containing representations of animals or mechanical objects that appear to move as real ones do
ex)an animated window display.
Shirley Tse
American, b. Hong Kong, 1968
Do Cinderblocks Dream og Being Styrofoam?, 2003
8)mimic
1. to imitate or copy in action, speech, etc., often playfully or derisively.
2. to imitate in a servile or unthinking way; ape.
3. to be an imitation of; simulate; resemble closely.
–noun
4. a person who mimics, esp. a performer skilled in mimicking others.
5. a copy or imitation of something.
6. a performer in a mime.
–adjective
7. imitating or copying something, often on a smaller scale: a mimic battle.
8. apt at or given to imitating; imitative; simulative.
9)Emulate
1. To strive to equal or excel, especially through imitation
ex)an older pupil whose accomplishments and style I emulated.
2. To compete with successfully; approach or attain equality with.
3. Computer Science To imitate the function of (another system), as by modifications to hardware or software that allow the imitating system to accept the same data, execute the same programs, and achieve the same results as the imitated system.
adj. Obsolete (-l t)
Ambitious; emulous.
10)Electric
1. pertaining to, derived from, produced by, or involving electricity
ex)an electric shock.
2. producing, transmitting, or operated by electric currents
ex)an electric bell; electric cord.
3. electrifying; thrilling; exciting; stirring
ex)The atmosphere was electric with excitement.
4. (of a musical instrument) a. producing sound by electrical or electronic means
ex)an electric piano.
b. equipped with connections to an amplifier-loudspeaker system
ex)an electric violin.
11)Imprint
1. a mark made by pressure; a mark or figure impressed or printed on something.
2. any impression or impressed effect: He left the imprint of his thought on all succeeding scholars.
3. Bibliography.
a.the name of a book's publisher printed on the title page or elsewhere, usually with the place and date of publication.
b. the statement of such information in a bibliographic description of a printed work.
c. a name, title, or other designation by which all or certain specific books of a publisher are identified.
4. any marketing name used by a company or organization for a product line; brand or label.
5. the printer's name and address as indicated on any printed matter.
12)Seam
1. the line formed by sewing together pieces of cloth, leather, or the like.
2. the stitches used to make such a line.
3. any line formed by abutting edges.
4. any linear indentation or mark, as a wrinkle or scar.
5. Knitting. a line of stitches formed by purling.
6. Geology. a comparatively thin stratum; a bed, as of coal.
–verb (used with object) 7. to join with or as if with stitches; make the seam or seams of.
8. to furrow; mark with wrinkles, scars, etc.
9. Knitting. to knit with or in a seam.
–verb (used without object) 10. to become cracked, fissured, or furrowed.
11. Knitting. to make a line of stitches by purling.
13)Surveillance
1. a watch kept over a person, group, etc., esp. over a suspect, prisoner, or the like: The suspects were under police surveillance.
2. supervision or superintendence.
Bruce Pearson
American, b. 1952
Who's to say that a shoe is not a piece of sculpture, 2000
14)Myriad
–noun
1. a very great or indefinitely great number of persons or things.
2. ten thousand.
–adjective
3. of an indefinitely great number; innumerable: the myriad stars of a summer night.
4. having innumerable phases, aspects, variations, etc.: the myriad mind of Shakespeare.
5. ten thousand.
15)Mosaic
1. a picture or decoration made of small, usually colored pieces of inlaid stone, glass, etc.
2. the process of producing such a picture or decoration.
3. something resembling such a picture or decoration in composition, esp. in being made up of diverse elements: a mosaic of borrowed ideas.
4. Also called aerial mosaic, photomosaic. an assembly of aerial photographs matched in such a way as to show a continuous photographic representation of an area (mosaic map).
5. Architecture. (in an architectural plan) a system of patterns for differentiating the areas of a building or the like, sometimes consisting of purely arbitrary patterns used to separate areas according to function but often consisting of plans of flooring, reflected ceiling plans, overhead views of furnishings and equipment, or other items really included in the building or building plan.
16)Observation
1. an act or instance of noticing or perceiving.
2. an act or instance of regarding attentively or watching.
3. the faculty or habit of observing or noticing.
4. notice: to escape a person's observation.
5. an act or instance of viewing or noting a fact or occurrence for some scientific or other special purpose: the observation of blood pressure under stress.
6. the information or record secured by such an act.
17)Cinderblock
A usually hollow building block made with concrete and coal cinders.
18)Temporal
1. of or pertaining to time.
2. pertaining to or concerned with the present life or this world; worldly: temporal joys.
3. enduring for a time only; temporary; transitory (opposed to eternal).
4. Grammar. a. of, pertaining to, or expressing time: a temporal adverb.
b. of or pertaining to the tenses of a verb.
5. secular, lay, or civil, as opposed to ecclesiastical.
–noun Usually, temporals. 6. a temporal possession, estate, or the like; temporality.
7. something that is temporal; a temporal matter or affair.
19)Remediation
the correction of something bad or defective.
20)Transient
1. not lasting, enduring, or permanent; transitory.
2. lasting only a short time; existing briefly; temporary: transient authority.
3. staying only a short time: the transient guests at a hotel.
Hello,
I wonder if it is correct for me to blog here;
Why doesn't anybody send your GMAIL address to Chelsea and register as a team member...
Anyway, I post here.
/*
Alphonse Mattia
America, B.1947
Architect's valet chair, 1989
1)Ebonize
:Stain black to make it look like ebony
2)Stain
:Color with a liquid dye or tint
ex)Stain this table a beautiful walnut color
ex)People knew how to stain glass a beautiful blue in the middle ages
3)High-spirited
1. Having a proud or unbroken spirit
ex)a high-spirited horse
2. Vivacious; lively
ex)a high-spirited tune.
4)Vibrant
1_1.Pulsing or throbbing with energy or activity
ex)the vibrant streets of a big city.
1_2. Vigorous, lively, and vital
ex)”a vibrant group that challenged the . . . system" Philip Taubman.
2. Exhibiting or characterized by rapid, rhythmic movement back and forth or to and fro; vibrating.
3. Produced as a result of vibration; resonant or resounding
ex)vibrant voices
4. Relatively high on the scale of brightness
ex)a vibrant hue
5)Bentwood
1. wood steamed and bent for use in furniture.
2. an article of furniture made of bentwood.
–adjective 3. of or pertaining to furniture made principally of pieces of wood of circular or oval section, steamed, bent, and screwed together
ex)a bentwood rocking chair.
6)Valet
1. a male servant who attends to the personal needs of his employer, as by taking care of clothing or the like; manservant.
2. a man who is employed for cleaning and pressing, laundering, and similar services for patrons of a hotel, passengers on a ship, etc.
3. an attendant who parks cars for patrons at a hotel, restaurant, etc.
4. a stand or rack for holding coats, hats, etc.
7)Animated
1. full of life, action, or spirit; lively; vigorous
ex)an animated debate on the death penalty.
2. made or equipped to move or give the appearance of moving in an animallike fashion
ex)animated puppets.
3. containing representations of animals or mechanical objects that appear to move as real ones do
ex)an animated window display.
Shirley Tse
American, b. Hong Kong, 1968
Do Cinderblocks Dream og Being Styrofoam?, 2003
8)mimic
1. to imitate or copy in action, speech, etc., often playfully or derisively.
2. to imitate in a servile or unthinking way; ape.
3. to be an imitation of; simulate; resemble closely.
–noun
4. a person who mimics, esp. a performer skilled in mimicking others.
5. a copy or imitation of something.
6. a performer in a mime.
–adjective
7. imitating or copying something, often on a smaller scale: a mimic battle.
8. apt at or given to imitating; imitative; simulative.
9)Emulate
1. To strive to equal or excel, especially through imitation
ex)an older pupil whose accomplishments and style I emulated.
2. To compete with successfully; approach or attain equality with.
3. Computer Science To imitate the function of (another system), as by modifications to hardware or software that allow the imitating system to accept the same data, execute the same programs, and achieve the same results as the imitated system.
adj. Obsolete (-l t)
Ambitious; emulous.
10)Electric
1. pertaining to, derived from, produced by, or involving electricity
ex)an electric shock.
2. producing, transmitting, or operated by electric currents
ex)an electric bell; electric cord.
3. electrifying; thrilling; exciting; stirring
ex)The atmosphere was electric with excitement.
4. (of a musical instrument) a. producing sound by electrical or electronic means
ex)an electric piano.
b. equipped with connections to an amplifier-loudspeaker system
ex)an electric violin.
11)Imprint
1. a mark made by pressure; a mark or figure impressed or printed on something.
2. any impression or impressed effect: He left the imprint of his thought on all succeeding scholars.
3. Bibliography.
a.the name of a book's publisher printed on the title page or elsewhere, usually with the place and date of publication.
b. the statement of such information in a bibliographic description of a printed work.
c. a name, title, or other designation by which all or certain specific books of a publisher are identified.
4. any marketing name used by a company or organization for a product line; brand or label.
5. the printer's name and address as indicated on any printed matter.
12)Seam
1. the line formed by sewing together pieces of cloth, leather, or the like.
2. the stitches used to make such a line.
3. any line formed by abutting edges.
4. any linear indentation or mark, as a wrinkle or scar.
5. Knitting. a line of stitches formed by purling.
6. Geology. a comparatively thin stratum; a bed, as of coal.
–verb (used with object) 7. to join with or as if with stitches; make the seam or seams of.
8. to furrow; mark with wrinkles, scars, etc.
9. Knitting. to knit with or in a seam.
–verb (used without object) 10. to become cracked, fissured, or furrowed.
11. Knitting. to make a line of stitches by purling.
13)Surveillance
1. a watch kept over a person, group, etc., esp. over a suspect, prisoner, or the like: The suspects were under police surveillance.
2. supervision or superintendence.
Bruce Pearson
American, b. 1952
Who's to say that a shoe is not a piece of sculpture, 2000
14)Myriad
–noun
1. a very great or indefinitely great number of persons or things.
2. ten thousand.
–adjective
3. of an indefinitely great number; innumerable: the myriad stars of a summer night.
4. having innumerable phases, aspects, variations, etc.: the myriad mind of Shakespeare.
5. ten thousand.
15)Mosaic
1. a picture or decoration made of small, usually colored pieces of inlaid stone, glass, etc.
2. the process of producing such a picture or decoration.
3. something resembling such a picture or decoration in composition, esp. in being made up of diverse elements: a mosaic of borrowed ideas.
4. Also called aerial mosaic, photomosaic. an assembly of aerial photographs matched in such a way as to show a continuous photographic representation of an area (mosaic map).
5. Architecture. (in an architectural plan) a system of patterns for differentiating the areas of a building or the like, sometimes consisting of purely arbitrary patterns used to separate areas according to function but often consisting of plans of flooring, reflected ceiling plans, overhead views of furnishings and equipment, or other items really included in the building or building plan.
16)Observation
1. an act or instance of noticing or perceiving.
2. an act or instance of regarding attentively or watching.
3. the faculty or habit of observing or noticing.
4. notice: to escape a person's observation.
5. an act or instance of viewing or noting a fact or occurrence for some scientific or other special purpose: the observation of blood pressure under stress.
6. the information or record secured by such an act.
17)Cinderblock
A usually hollow building block made with concrete and coal cinders.
18)Temporal
1. of or pertaining to time.
2. pertaining to or concerned with the present life or this world; worldly: temporal joys.
3. enduring for a time only; temporary; transitory (opposed to eternal).
4. Grammar. a. of, pertaining to, or expressing time: a temporal adverb.
b. of or pertaining to the tenses of a verb.
5. secular, lay, or civil, as opposed to ecclesiastical.
–noun Usually, temporals. 6. a temporal possession, estate, or the like; temporality.
7. something that is temporal; a temporal matter or affair.
19)Remediation
the correction of something bad or defective.
20)Transient
1. not lasting, enduring, or permanent; transitory.
2. lasting only a short time; existing briefly; temporary: transient authority.
3. staying only a short time: the transient guests at a hotel.
Tuesday, July 15, 2008
Experience versus reality, the influence of travel on the imagination
Travel poses a series of questions to the existence of the body in space and to the reality of time and distance. It asks the mind to understand different realities, store them as memories and user them in the future as subconscious knowledge and intuitive means of reasoning, creating and thinking.
"I do not write because I think. I think because I write."
"I do not draw because I think. I think because I draw."
In both instances, a search through words, lines, shapes, etc., results in an accumulation of process and creation. Writing an essay on an experience should reflect an introspection, a digression, a revelation. A narrative reveals a diary-like approach to recalling the events of a period of time. By looking into these narratives, you may extract words that might develop your subconscious ideas of the place. Why did you keep writing "hidden?" Why did you keep talking abou t the group? Whey did you use the word "transparent?" How does writing itself create an idea that might evolve into a written work?
"I do not write because I think. I think because I write."
"I do not draw because I think. I think because I draw."
In both instances, a search through words, lines, shapes, etc., results in an accumulation of process and creation. Writing an essay on an experience should reflect an introspection, a digression, a revelation. A narrative reveals a diary-like approach to recalling the events of a period of time. By looking into these narratives, you may extract words that might develop your subconscious ideas of the place. Why did you keep writing "hidden?" Why did you keep talking abou t the group? Whey did you use the word "transparent?" How does writing itself create an idea that might evolve into a written work?
Thursday, June 26, 2008
Greenberg essay
This is an essay on modernism/post-modernism by Clement Greenberg: http://www.sharecom.ca/greenberg/postmodernism.html
Modernism
After speaking with some of you this afternoon, I have found a few (hopefully helpful) definitions.
Modernism The adjective 'modern' distinguishes ideas and usages of the present and of the recent past from earlier ones, even when these are still generally adhered to. [...] Modernism and Modernist were words attache dto developments in the arts that were opposed to or to some degree divergent from, the ideas and canons represented by the classical tradition, prioritized in the academies. When Modernism in the visual arts began is a matter of dispute. Some make 1863 the key date, with Manet's challenging translation of time-honored mythological subjects into scenes whose meaning is modern and secular; or 1874, with the first Impressionist exhibition, or around 1888, with Gauguin and Bernard's anti-naturalistic style, rejecting the idealism or academic art and its technical refinement in favor of a primitivistic idiom partly derived from folk art, primitivism undermined the principle of imitation of appearances to which sophisticated art had generally aspired. These starting points are all in the history of French art, and there is no denying the role of Paris both as the arena in which French and other artists worked to test and establish new traditions and where a context of critical debate developed around them. Yet one is tempted to associate the origins of Modernism with Romanticism and its challenge, throughout Europe, so the unique authority of classicism and its emphasis on the individual artist as the source or meaning and authenticity. From it came a self-consciousness, in matters of style and other priorities, and slso the urge to form diverging groups or movements new to the history of art yet characteristic of the late 19th and 20th century art. Thie urge was, however, always countered by a contrary urge to individualism in through and practice, all groupings were temporary, the more short-lived the firmer the orthodoxy they appeared to represent even if their names continued to serve as rallying calls.
With the approach of 1900 the awareness of a new beginning in art was heightened by a wider sense of a new age opening to which changes in daily life and expectation of further changes (e.g. electricity for light and power, radio, aeroplanes, and agreed global time system, etc. )gave experiential reality. At the same time political upheaval--socialism and anarchism - engaged with systems already weakened by the 19th century's succession of revolutions and wars. Modernism was widely, but not exclusively , associated with life in an industrialized society, and battle was joined with those who preferred art to reflect past ages and their relative stability. By the beginning of the First World War, in 1914, all the cultural centers of Europe and New York were kept aware of dramatic new developments in the arts, and particularly in the visual arts by exhibitions, specialist journals and the press in genera, although the response was largely negative and patronage was remarkably slow to engage. By 1914, it was also clear that Modernism was not one direction in the broad stream of modern art--though it was sometime associated with an overcoming of impressionism as the last style rooted in imitating natural phenomena--but many exhibiting marked differences in theory and practice. [...] Modernism was never one movement, and became more divided as abstraction became prominent.
Around 1970, Post Modernism emerged as a term implying the end of Modernism and anew pluralism in the arts, first in architecture where the so-called International Style had become dominant and was being devalued by replication. Springing from the ideas and methods of major architects such as Le Corbusier, Mies van der Rohe and Gropius, themselves active internationally and of wide influence, the International Style, crudely associated with the notion of functionalism in response to the industrialized world which it served was felt to be stifling regional traditions, alternative building methods and individual hopes of fame through personal innovation, no such central orthodoxy existed in Modernist art, so that the champions of Post-Modernism have needed to demonize Modernism as a stultifying force, solemn and homogenous. Modernism has been accused quite specifically of formalism, of elevating consideration of means and methods over communication.
Modernism The adjective 'modern' distinguishes ideas and usages of the present and of the recent past from earlier ones, even when these are still generally adhered to. [...] Modernism and Modernist were words attache dto developments in the arts that were opposed to or to some degree divergent from, the ideas and canons represented by the classical tradition, prioritized in the academies. When Modernism in the visual arts began is a matter of dispute. Some make 1863 the key date, with Manet's challenging translation of time-honored mythological subjects into scenes whose meaning is modern and secular; or 1874, with the first Impressionist exhibition, or around 1888, with Gauguin and Bernard's anti-naturalistic style, rejecting the idealism or academic art and its technical refinement in favor of a primitivistic idiom partly derived from folk art, primitivism undermined the principle of imitation of appearances to which sophisticated art had generally aspired. These starting points are all in the history of French art, and there is no denying the role of Paris both as the arena in which French and other artists worked to test and establish new traditions and where a context of critical debate developed around them. Yet one is tempted to associate the origins of Modernism with Romanticism and its challenge, throughout Europe, so the unique authority of classicism and its emphasis on the individual artist as the source or meaning and authenticity. From it came a self-consciousness, in matters of style and other priorities, and slso the urge to form diverging groups or movements new to the history of art yet characteristic of the late 19th and 20th century art. Thie urge was, however, always countered by a contrary urge to individualism in through and practice, all groupings were temporary, the more short-lived the firmer the orthodoxy they appeared to represent even if their names continued to serve as rallying calls.
With the approach of 1900 the awareness of a new beginning in art was heightened by a wider sense of a new age opening to which changes in daily life and expectation of further changes (e.g. electricity for light and power, radio, aeroplanes, and agreed global time system, etc. )gave experiential reality. At the same time political upheaval--socialism and anarchism - engaged with systems already weakened by the 19th century's succession of revolutions and wars. Modernism was widely, but not exclusively , associated with life in an industrialized society, and battle was joined with those who preferred art to reflect past ages and their relative stability. By the beginning of the First World War, in 1914, all the cultural centers of Europe and New York were kept aware of dramatic new developments in the arts, and particularly in the visual arts by exhibitions, specialist journals and the press in genera, although the response was largely negative and patronage was remarkably slow to engage. By 1914, it was also clear that Modernism was not one direction in the broad stream of modern art--though it was sometime associated with an overcoming of impressionism as the last style rooted in imitating natural phenomena--but many exhibiting marked differences in theory and practice. [...] Modernism was never one movement, and became more divided as abstraction became prominent.
Around 1970, Post Modernism emerged as a term implying the end of Modernism and anew pluralism in the arts, first in architecture where the so-called International Style had become dominant and was being devalued by replication. Springing from the ideas and methods of major architects such as Le Corbusier, Mies van der Rohe and Gropius, themselves active internationally and of wide influence, the International Style, crudely associated with the notion of functionalism in response to the industrialized world which it served was felt to be stifling regional traditions, alternative building methods and individual hopes of fame through personal innovation, no such central orthodoxy existed in Modernist art, so that the champions of Post-Modernism have needed to demonize Modernism as a stultifying force, solemn and homogenous. Modernism has been accused quite specifically of formalism, of elevating consideration of means and methods over communication.
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