COP NOTES (Note to self) - Modernism, Post-Modernism, Conceptualism, Aestheticism, Minimalism, Simplistic-ism, Internetism, what else?? (research post)

• Just as the heading of this blog says, my brain hurts from educating myself with art theories and ideologies. ESPECIALLY with conceptualism and pretentious artists/art-lovers admiring blank, white paintings

Notes:

AESTHETICISM (19th-20th C)

• liberate art from morality, politics and social purpose
• a general movement
• "art for art's sake" --> derived from Japanese art (subtle moods, exploration of sophisticated mixture of colours/combination)

MODERNISM (20th C)

• experimental art
• trend: to seek answers to fundamentals questions about the nature of art and human experience 
• Modernist art is subjective --> private, inward looking, relevant only to the artist or his/her group "bourgeois subjectivity"
• "Television culture" = existence of television sets and programmes along with them (source of information and educates the population)

POST-MODERNISM (1970s-180s)

• "It had been adopted by the corporate world and exploited at the expense of its social vision"
• belief: no society or culture is more important than any other
• explore and undermine the way society constructs and imposes a traditional hierarchy of cultural values & meanings
• place little faith in the unconscious as a source of creative and personal authenticity

Beyond the Post Modern aesthetics (older 20th C - today)

• humanist psychology of 'expression' and the manipulation of materials
• "regression in the service of ego"
• abstract nature of things
• IF modernism is to be moulded to our future purposes --> may result to socially useful art
• Professionals aren't driven by achieving publicly inspirational art - as opposed to work that simply happens to be shown in public
• vaguely intended for public consumption
• "Will the reign of the art market continue to inflect in wholly negative ways the acceptable meanings which are circulated in our society under the label of art?" 

CONCEPTUALISM

• generally understands the 'idea' that shapes an artwork

MINIMALISM

• repetitive use of elements which has its own formal simplicity
• believes in the basic forms of a square, rectangle and circle
• criticised for ignoring complexity and nuance from sculpture, materials, intellectual aspects

SIMPLICITY

Social and Aesthetic Implications of the Art of the Electronic Age

• process of artistic creating and aesthetic exploration concerns technological artists more than the production of finite works of art
• Decoration and ornamentation --> dismissed as superficial in favour of simplicity, clarity, uniformity, purity, order and rationality
• "Pipedream of a society dominated by technical revolutions, global networks and inundations of information from mass media."
• Simplicity = Simplification + thoughtful reduction

Thoughts

• To sum up, everything seems to tie in. I could see the relevance between old art theories and the current art practice. Though what I feel that is prominent is that time, technology, culture and society plays a significant role in creative practitioners and their work. 

• I suppose what defines 'exceptional' or 'revolutionary' artworks changes through time. Now almost everything is mainly dictated by the media, digital world and caters clients. 

Source:

Little, S. ISMS Understanding Art. 2004.  Herbert Press. London.

Schopf, C & Stocker, G. Simplicity the Art of Complexity: Ars Electronica. 2006. Gutenberg-Webering Gesellschaft Press. Hatje Verlag, Germany.

Taylor, B. Modernism, Post-Modernism, Realism: a critical perspective for art. 1990. 3rd Printing. Winchester School of Art Press, Hampshire.  

COP NOTES - Creative practitioners (Visual Analysis)

Malika Favre's website

http://malikafavre.com/

• Very editorial, pop art with distinct western influence
• It's very minimal and lots of shapes, solid colours, clear lines 
• Uses a lot of light and shadow in her work

PICK ME UP 2015

http://www.lauracallaghanillustration.com/

• Quite flat, pattern based and linear in a way
• Focuses on women empowerment 
• mainly does editorial work (?)

Thoughts

• I feel that their work gives off this pop culture and media aesthetics

• There is something in their work that is relatable. Perhaps it is the sense of consumerism and social beliefs (feminism?)

• However, I would highlight the fact that these works in particular are strong in terms of having a 'comment' or 'content'.

COP NOTES - Relevant artists/creative practitioners 

Artists to look at: 

Laura Callaghan 

Tatsuro Kiuchi

Malika Favre

Mitch Miller 

JR

John Holcroft

William Morris

Thoughts 

• From what I have gathered and personally concluded, there is no possible way to simply create artwork that mean nothing. Looking back to even modernism and post modernism and the whole idea of abstract and conceptual art, a piece of work would at least hold meaning or idea to the artist themselves (a self-reflection and all about the concept). 

• Even though I still don't consider most conceptual/abstract artworks, 'good art'. I believe that it is still art, but it isn't something that I would say is a wonderful, admired worthy artwork.

What is this painting? I honestly have no comment.

White Painting [three panels], Robert Rauschenberg. 1951. Oil Paint.

Not really. I have a lot to say actually. So bear with me.

• I don't consider this an artwork great or anything, aesthetically pleasing perhaps. Though not beyond that. I pieced a few reasons as to why such artworks (now) costs a lot and is infamous. These reasons being: 1. Name, 2. Trend/culture/society

• Name and fame get together pretty well. It similar in terms of products. As I learnt from the consumerism lecture (yay!), there is product placement and branding. People, society (having a consumerist behaviour) easily fall into such traps. For instance, Nike and Adidas are particularly expensive since we are technically buying the brand not the product. 

• Trend, culture and society perhaps combine well together. Since we live in a digital age, I found the relevance in simplicity and minimalism in art, design and technology. 

• I would say that simplicity isn't purely aesthetics though it is the idea of convenience and what is easy and quick for people to use. I suppose this is more relevant to architecture, product design and those alike.

• I feel that I kind of understand where Zeegan is standing. If Rauschenberg weren't well-known and was of this age, perhaps this painting would be scorned for the thoughtless look of it. And it wouldn't make him successful as an artist in comparison to other artworks that are much more impactful and meaningful. Though it may be well known for being different, revolutionary and the process (painted over and over by different notable artists)

More thoughts 

• And in terms of aesthetics, it would completely depend on the individual (what is aesthetic to them?). Though due to the trend and current society, the idea of 'aesthetics' perhaps could be influenced by the modern technology and the concept of simplicity and cleanliness (e.g. the aesthetics of Apple products, now Samsung is following in their footsteps)

• It is true that not all artworks serve a purpose to 'change the world', though some are much more subtle in terms of communicating a meaning or message. 

COP NOTES - Questioning everything and myself. 

Key Questions

Could people create illustrations (or any art form) that completely mean nothing?

• The evolution of the concept of art 

• There would always be a process,relation, a reason, inspiration, idea behind an artist's illustrations. Perhaps some may be rather mundane whereas others could be purposeful -influential.

• When did art become abstract? (look at: Kazimir Malevich)

https://blog.eikowa.com/2016/05/26/when-did-art-become-abstract/

Why are simplistic artworks considered 'aesthetic'?

• Modern/Post-modern/contemporary/conceptual/abstract art - self-conscious, self-referential or inquiring 

• Deconstruction

• Aesthetics in digital art 

• Evolution: advancement in technology, media, digital culture

Speculations V: Aesthetics in the 21st Century, May 2014, Edited by Ridvan Askin, Paul J. Ennis, Andreas Hägler and Philipp Schweighauser, ISBN:978-0692203163

Is creating illustration that are purely visually appealing or emotionally inciting not considered 'good' illustration?

• Creative process? Planning? 

• Work that are currently similar/common would not get the artist anywhere (not as successful I guess?) - no distinct character in their practice or uniqueness 

COP LECTURE - CONSUMERISM (Notes)

Sigmund Freud 

- psychoanalysis
- primitive sexual forces and animal instincts which need controlling 
- discovering the unconscious mind
- these desires: are incompatible with civilised/ordered society. Make people repress the instinctual gratification

Edward Bernays

- Press Agent/Propagandist/Public relations 
- Freud's nephew: hence knows Freud's theories
- Managing public opinion: manage products

'Torches of Freedom' - not a thing that is fashionable but became a symbolic fact of feminism. 1929.

- product placement
- celebrity endorsements (to be loved. Have status. To dominate.)
- the use of pseudo-scientific reports (use doctors, scientific words to make it sound more legitimate) 

Fordism (1908-1927)

- world of mass production rather than micro 
- things made quicker (industrialisation): assembly time reduced from 12.5 to 1.5 hours 
- possible crisis of over production. 
- market become saturated when consumers lose interest 

Branding 

- Naomi Klein (rise of branding)
- companies need to distinguish their product in the market: give individual identity 
- people's names to seem more human, authentic, hand-made, a lot of investment goes into production (not mechanised) 
- a way of creating identity in a saturated market/through illusory idea that they would meet people's instinctual aspect
- rather than just creating brand: advert showing the lifestyle you perhaps would have (trade off) 
- gimmick: they don't like pancake mix since they think that they couldn't cook. attach an idea of creativity to something (something that makes you more creative than others) more desirable.

Desires
NEED vs WANTS 
Standard of living
Quality of life

Marketing hidden needs (Vance Packard)

Selling:
- emotional security
- reassurance of worth (human instinct)
- ego-gratification
- creative outlet
- sense of power
- a sense of roots
- immortality

Consumerism in a nutshell (my summary)

consumerism - a gateway/escape from problems - answers society's problems - a giant trade show in disguise 

• I didn't realise that the idea of consumerism involves a lot with the human mindset. It's interesting to see that through our desires could be quenched through consumption (which I honestly think that it never will be). It also goes to show that humans are generally materialistic beings and we are so easily persuaded by the media (e.g. product placement). It honestly scares me.

COP NOTES - Post Christmas Review

OUIL401 Context of Practice

Post Christmas Review

What is the main subject area / question the illustrator is looking into?

Politics - illustration's role in society

What are the strengths in how they have responded to this subject area?

(Breadth of research? Criticality of image analysis? Effective Triangulation?)

Good mix and range of experimenting in journal

How have they responded to the Visual Journal element? (ideas, content, materials, process, experimentation, crafting…)

List 3 positive points:

experimentation
range of approaches
visually appealing collages

And 3 areas that could be developed further:

why simple illustrations are so appealing to people

How effectively is the illustrator synthesising research, contextual analysis and their own practical explorations? (Does it all make sense together? Do elements feel connected?)

elements and subject matter needs to be more focused and rounded now

What are the next steps with the research project, practical and theoretical?

(Is a more experimental approach required? Do they need to find more imagery? Is there a particular practical focus they should continue with? Be Honest, Critical and Helpful as to how this project can grow from this point.)

continue creating visually appealing work and ask why people are attracted to colour/shape, post-internet illustrations

• I was mainly inspired by Barbara Kruger's collages. It is her ability to express social commentary or at least something meaningful, a question put forward to the viewers through her collages. There is this dialogue between the artist and the audience. I honestly think that her work is quite simple, though it is powerful.

some of my concertina pages

• I decided to explore more around collaging. After the COP sessions, I have a clearer view on what I would like to develop in terms of responding to the chosen quote. I wanted to explore if artists/creative practitioners could create work that is purely aesthetic and mean nothing. 

• So far, I find it quite difficult. I find it quite difficult in a sense that the art is rather subjective and broad at the same time. There are artworks that contributes the community, leaves an impression, though there are also artworks that are simply internal dialogues between the work and the artist (if that makes sense). As much as I try to make sense of a particular artwork, I wouldn't exactly know the true intention and meaning. Only the artist would know.

• Though I feel that the approach I am going with, focuses on more subjectivity and personal judgement (in this case the concept of aesthetics). I am still quite unsure what I could further develop from here.

DEVELOPMENT

DEVELOPMENT & FEEDBACK

NOTE TO SELF (a rather long note)

• I roughly have a gist on where I am going with the essays and the visual journal. The peer review session made me reconsider several things and where I could further develop.

• I was told that I have done a good range experimenting and testing, though I think that with a more focused idea, I would still like to explore different image-making methods.

• There were a few aspects that were brought up, such as an illustrator's role in society and what defines 'good' art? Works that I have been looking into varies from strong content/meaningful illustrations (in particular) and the exact opposite, simply work that perhaps could mean nothing but pleases the audience's eyes. 

• This actually raises more questions - could people simply make artworks that completely mean nothing? (I think no and yes, to a certain extent), why simple illustration are so appealing to people? (from a previous lecture, we were told that culture and society may have affected the idea of aesthetics, due to the digital and minimal age, e.g. Apple) 

• I might need to look more into people's opinions regarding artworks that are functional and meaningful in contrast to aesthetically pleasing works. (the latter doesn't tend to go far, in terms of recognition, development/craft as they follow a common trend. The outcome isn't as engaging and impactful. Though it is still a form of expression, communication.)

• From here, perhaps I should look at how do people define aesthetics? Maybe explore simply visually appealing work and why are people attracted to colour or shapes? (post-internet illustrations?)