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Contemporary Art, Art and Objecthood, Performance Chapter 1, Between the…
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Art and Objecthood
"Against such "multipart, inflected" sculpture Judd and Morris assert the values of wholeness, singleness, and indivisibility-of a work's being, as nearly as possible, "one thing," a single "Specific Object...""
Singleness, wholeness, and unity is contrasted with division into parts and pieces
"[Literalist Art] aspires not to defeat or suspend its own objecthood, but on the contrary to discover and project objecthood as such."
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"But the things that are literalist works of art must somehow confront the beholder-they must, one might almost say, be placed not just in his space but in his way"
"The crucial distinction that I am proposing is between work that is fundamentally theatrical and work that is not."
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Many contemporary artists embrace the theatricality of their art through performance, others through presence. This is in opposition to Fried's thesis that art must resist theater.
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Performance Chapter 1
"Performance, for him, is not simply an act, or an action, but an existential condition."
"In this sense, performance can be understood as process-as enactment, exertion, intervention, and expenditure."
Performances are profoundly influenced by how time proceeds, including referencing their own documentation or artifacts left behind
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Non-performative artists can engage with the performance of race, gender, or political actions
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Black West
The Black Arts Movement between 1965 and 1976 prioritized popular art and literature that conveyed and celebrated the black experience
“Both US and the Panthers took the strict view that art must be ‘a tool for liberation,’ that it ‘must expose the enemy, praise the people, and support the revolution.’ ”
The aftermath of the Watts Rebellion was a response by artists of many types, including sculptures made of the physical remnants of the rebellion
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While focus is often placed on other areas of the country, California was a major site of artistic and cultural development during the Black Arts Movement
The echoes and effects of the black arts movement can be seen in a variety of contemporary artists' work
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Marking Time Intro
“Prison art practices resist the isolation, exploitation, and dehumanization of carceral facilities. They reconstitute what productivity and labor mean in states of captivity…”
Prison art is often created in spite of the many restrictions imposed on imprisoned people and its inherent risks
Prison art can be a force of humanization, resistance, and autonomy in a system that strives to take those things away
Prison art often inherently benefits the prison system, but can also be used to critique that system
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Expanded Sculpture
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“In the hands of this criticism categories like sculpture and painting have been kneaded and stretched and...a display of the way a cultural term can be extended to include just about anything”
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Sculpture: Non-Landscape/Non-Architecture
Site Construction: Landscape/Architecture
Marked Sites: Landscape/Non-Landscape
Axiomatic Structures: Architecture/Non-Architecture
Krauss's expanded definition of sculpture is useful in defining many large-scale works created by contemporary artists
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Radical Openness
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“I have been working to change the way I speak and write, to incorporate in the manner of telling a sense of place, of not just who I am in the present but where I am coming from, the multiple voices within me.”
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Though incomplete I was working in these statements to identify marginality as much more than a site of deprivation, in fact I was saying just the opposite: that it is also the site of radical possibility, a space of resistance.
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Image making artists create two dimensional works of art, whether moving or still. Contemporary image makers have explored and pushed the boundaries of their chosen media.
Object making artists work in three dimensions, although several blur the line between two- three-dimensional art. Contemporary object makers create objects for all manner of spaces, including some works which create their own environments.
Documentation as art describes works that exist primarily as images or artifacts of a particular event, time, and place. This category is for works and artists whose practices are most often observed through immediate or past documentation
Documentation through art describes artist and practices whose art records, conveys, and communicates the state of the world as it is or recalls the state of the world as it was. Regardless of medium, they communicate experiences to those who have never had them.
