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Student guide_PDF<\/a><\/p>\n

Searching your place in art history_(entire class PWP<\/a>)<\/p>\n

Questions about the project (PDF)<\/a><\/p>\n

Searching your place in art history. Insight and advice.<\/em><\/span><\/strong><\/h2>\n

1. Where do ideas (for artwork) come from?<\/strong><\/span><\/h3>\n

MENTIONED ARTWORKS:<\/p>\n

– Ryan Gander. Difficult Ideas and Unrealised Projects<\/em>, 2021<\/p>\n

A freely downloadable screensaver for a personal computer, displaying an idea a day for\u00a0365 days a year. The titles act as a starting point for an art project, as originally recorded by the artist\u00a0in his notebook.<\/p>\n

https:\/\/www.bombasgens.com\/en\/web-collection\/<\/a><\/p>\n

– Artur Beifuss & Francesco Trivini Bellini. Branding Terror. The Logotypes and Iconography of Insurgent Groups and Terrorist Organizations<\/em>. Merrell, London-New York, 2013.<\/p>\n

Branding Terror<\/em> is a project for understanding the visual identities of terrorist organizations. This requires the attempt to study terrorism without condemning it. This is not to be viewed as displaying insensitivity to the victims of terrorist acts, nor as an acceptance of the harmful, destructive and blameworthy motives of terrorists and deeds.<\/p>\n

http:\/\/www.brandingterror.com\/<\/a><\/p>\n

– Femke Herregraven, Liquid Citizenship<\/em>, 2015.<\/p>\n

Liquid Citizenship<\/em> is a site which gathers together international data on citizenship opportunities and exemptions, enabling you to explore the offers available for purchasing a national passport, or acquiring citizenship through other means, such as naturalisation, people smuggling or asylum seeking.<\/p>\n

http:\/\/femkeherregraven.net\/liquid\/<\/a><\/p>\n

2. Are artists influenced by the art context?<\/strong><\/span><\/h3>\n

George Kubler: The importance of the entrance<\/em> in art history.<\/span><\/strong><\/h4>\n

\u201cEach man’s lifework is also a work in a series extending beyond him in either or both directions, depending upon his position in the track he occupies. To the usual coordinates fixing the individual’s position -his temperament and his training- there is also the moment of his entrance<\/em>, this being the moment in the tradition -early, middle, or late- with which his biological opportunity coincides. Of course, one person can and does shift traditions, especially in the modern world, in order to find a better entrance. Without a good entrance, he is in danger of wasting his time as a copyist regardless of temperament and training (Page 6).<\/span><\/p>\n

“Good” or “bad” entrances are more than matters of position in the sequence. They also depend upon the union of temperamental endowments with specific positions. Every position is keyed, as it were, to the action of a certain range of temperaments. When a specific temperament interlocks with a favorable position, the fortunate individual can extract from the situation a wealth of previously unimagined consequences. This achievement may be denied to other persons, as well as to the same person at a different time. Thus every birth can be imagined as set into play on two wheels of fortune, one governing the allotment of its temperament, and the other ruling its entrance into a sequence.<\/span><\/p>\n

By this view, the great differences between artists are not so much those of talent as of entrance<\/em> and position in sequence. (Page 7).\u201d<\/span><\/p>\n

George Kubler. The shape of things<\/em>. New Haven and London: Yale University Press, 1962.<\/span><\/p>\n

\"\"\u00a0<\/strong><\/p>\n

WHAT IS MAINSTREAM TODAY?<\/strong><\/p>\n

Grayson Perry: Contemporary -isms.<\/strong><\/span><\/h4>\n

\u201cBut I was thinking about what the ism of today would be, if this twntieth-century parade of modernism was in some ways the age of manifestos, with many of these art movements figuratively nailing their manifesto to the door of the art gallery.\u00a0 Perhaps the twenty- first century is the age of\u00a0 pluralism<\/em><\/strong>.\u00a0 We haven\u2019t said, \u201dIt\u2019s going to be all about dreams now\u201d or \u201cIt\u2019s all going to be about\u00a0 splodgy paint.\u201d<\/span><\/p>\n

And then there\u2019s another ism that crops up a lot in the art world today, and that is globalism<\/em><\/strong>,\u00a0 because the art world now this is a series of art worlds all over the globe,\u00a0 lots of different countries, lots of emerging\u00a0 world scenes. Or of course one of the big, dominant, squatting, toad-like things over the whole world is commercialism<\/em><\/strong>.\u00a0 that\u2019s a very powerful movement that\u2019s going on. And then there\u2019s always\u00a0 that good all favourite, that one that always has enormous power: nepotism<\/em><\/strong>. (Pages 103-104).\u201d<\/span><\/p>\n

Grayson Perry. Playing to the Gallery<\/em>. <\/span>Penguin Books, 2016.<\/span><\/p>\n

PLANNED OBSOLESCENCE IN ART<\/u><\/strong><\/p>\n

Planned Obsolescence and the logic of the capitalism:<\/p>\n