PHOTO-CONTEMPORARY ART (feb 8, 1972 – apr 20, 1985)
Description:
- new technology introduced during this time (floppy disc, email, e-book, laser printer, VCR)
- first generation born into the "swarm of images" which was a result of post-war consumerism
- new ways to communicate and interact
- economy of need was replaced with a economy of desire
- art was not worth a lot (allowed for exploration)
- movies, televisions, and pop music
- influenced by French theorists (ideas are manufactured and learned, society constructs race, sex, and ethnicity)
- the viewer's interpretation gives the image meaning
- post-studio art (made outside of the studio)
- appropriation
- first movement to be dominated by women artists
- art revealed ideologist point of views
deconstructs images and narratives
- analyzed films, magazines, and pop music
- worked aimed to reveal what goes on in media (not celebrate it)
- critiques representation in media
BIRNBAUM
- interested in the television
- appropriates clips and stills from television
- highlights competing male and female interests
- commented on mass media's view on women
BLOOM
- demonstrates the political power of advertisements
- uses "images that were so perfect that they could be overlooked"
- removes the information needed to understand the image
- juxtaposition between images and text
- negative feelings about the middle east
- comments on the emptiness of memorials
- comments on an actresses decline leading her suicide
- trailer of a film that doesn't exist
CHARLESWORTH
- partner of Kosuth (co-founded the conceptual journal "The Fox")
- uses photography to show how images shape our perception of the world
- removes everything newspapers except for the masthead and he photos
GOLDSTEIN
- film and audio work
- "art for art's sake"
- appropriation (sound effects and clips)
- drains the power of the logo of a famous studio
- comments on the constant output of films
KRUGER
- graphic designer
- appropriates (fashion) magazine layouts
- overlays a phrase on a black and white image
and frames the image in a bold red band
- comments on male artists using female forms in their work and women being glared at
- aims to introduce women spectators in her work
- comments on how an images in media is dictated by editing (our response has been constructed for us
- if media can manipulate the meaning of images so can artists
LAWLER
- arranged work by other artists
- interested in corporate art collections
- explores how objects and artwork interact with domestic setting
LEVINE
- questioned originality in art
- collage
- appropriation
- body is photographed to look like a marble sculpture
- photographed another artist's work, signed it, and displayed it
- adds on to what has already been made
- destabilizes the relationship between the viewer and the artist of the work (unsure who made it)
- brings old art forward so that it can be seen in a new way
LONGO
- references still images from films
- looks at the construction of the male identity
- explores images of male heroism
PRINCE
- photographed newspaper and magazine images
- tamed naturalised images by comparing similar images
- looked at socio-economic classes and how they are represented
- "America is the land of the neutered"
PRINCE
- stereotypical imagery of the south-west
- original images used in cigarette ads
- finds webs of half truths and lies in images from mass media
- draws attention to the underlying myths of American individuality
- comments on the misleading qualities of appropriation
SHERMAN
- camera allows the artist to put time into the idea
- films were constructed based off the male gaze
- films stills form films that don't exist
- plays on stereotypes
- sense of dread
- trapped by cinema techniques
subject seems vulnerable to something outside of the photographic frame
- socially constructed images of femininity define "women"
- usually the people who gaze have more power
- in her photos she is both gazing and being gazed at
Added to timeline:
120JAV
Date:
