Art Appreciation DB5

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Chapter 2.10 Alternative Media and Processes

PART 2

MEDIA AND PROCESSES

Introduction

Break down traditional boundaries between art and life

Actions and ideas rather than a physical product

Can be interactive

Often incorporates more than one type of medium; categorization of artworks becomes complicated

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The creative process produces events, ideas, and experiences that are artworks in themselves.

In conceptual art, the idea behind an artwork is more important than any visual subject or material product.

For example, if an artist printed a set of instructions for the viewer, the actual, tangible result of the piece would be the actions that person performed.

Context of Alternative Media

20th century: Artists explore new ideas about art (actions, texts, environments)

Influence of Jackson Pollock and his action paintings of the 1950s

Works themselves tend to last for a short period of time

Documentation becomes important

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Alternative media approaches diverge from the traditional Western practices known as “fine art,” narrowly defined as paintings on canvas and sculptures on pedestals.

Portal Artwork: Jackson Pollock, Number 1A

3.9.26 Jackson Pollock, Number 1A, 1948. Oil and enamel paint on canvas, 5’8 × 8'8". MoMA, New York

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The painting method used by Jackson Pollock brought attention to the physical movement of the artist in the creation of art, in addition to the artwork itself.

Conceptual Art

The idea is more important than any material product

Influenced by the Dada movement and Marcel Duchamp’s readymades

Opened up possibilities of making art from everyday things, imagery from popular culture, or simply ideas

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Conceptual art has flourished from the 1960s onward

In some ways it is similar to Dada absurdist events in Zürich in 1916, where artists performed nonsense poetry as a release from and savage commentary on the events of World War I

One of Duchamp’s (1887–1968) artworks, Fountain, was rejected for an art exhibition in New York in 1917 because it was simply a factory-made white porcelain urinal, signed “R. Mutt”

While the group hosting the exhibition was outraged, it missed Duchamp’s entire point: the meaning of the artwork transcends its medium

Duchamp was also one of the first artists to experiment with kinetic art, or art with moving pieces

Portal Artwork: Marcel Duchamp, Fountain

3.10.1 Marcel Duchamp, Fountain, 1917. Replica (original lost). Porcelain urinal, 12 × 15 × 18”,

Philadelphia Museum of Art, Louise and Walter Arensberg Collection

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Marcel Duchamp pioneered the readymade: a regular object (e.g. a urinal) that becomes an artwork (here, Fountain) by the decision of the artist.

Artwork: Jean Tinguely, Homage to New York

2.10.1 Jean Tinguely, Homage to New York, MoMA, New York, March 17th 1960. Photo David Gahr

Jean Tinguely, Homage to New York

A mechanized assemblage of discarded junk, set in motion at MoMA, NYC

Self-destructed unpredictably

In addition to crashing, whirring, and smoking, flames shot out and a carriage hurtled towards the audience

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Swiss artist Jean Tinguely (1925–1991) was interested in exploring impermanence, accident, and uncertainty as legitimate forces within the creation and experience a work of art

Rebellious and humorous artist

Its one-off “performance” happened in the sculpture garden of the Museum of Modern Art in New York City

Eventually a fire fighter, afraid that the piece would endanger the museum, put out the flames

Artwork: Kruger, Belief + Doubt (=Sanity)

2.10.2 Barbara Kruger, Belief + Doubt (=Sanity), 2012–present, installation view, Hirshhorn Museum

Barbara Kruger, Belief + Doubt (=Sanity)

Combines found images and words to give them new meanings

Work has a feminist and socially conscious overtone

The text addresses the viewer directly

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American artist Barbara Kruger (b. 1945) uses her training and experience as a graphic designer

Magnifies the text panels (up to 12’)

Barbara Kruger, Untitled (You Invest in the Divinity of the Masterpiece)

To learn about another artwork by Barbara Kruger, watch this video of a MoMA lecturer talking about Untitled (You Invest in the Divinity of the Masterpiece):

MoMA Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Yoko Ono, Wish Tree for Liverpool

2.10.3 Yoko Ono, Wish Tree for Liverpool, 2008. Bluecoat Arts Centre, Liverpool, England

Yoko Ono, Wish Tree for Liverpool

Ono has been making conceptual works since the 1960s

The piece relies on the interaction and participation of the viewer

Instructs the viewer to make a wish and tie it to the tree

Installed Wish Trees all over the world

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Yoko Ono (b. 1933) is a Japanese-born American artist and musician

Her first pieces were poetic instructions to be performed or just imagined

Eventually she made “Instruction Paintings,” consisting of typed instructions, rather than finished works of art

The Wish Trees were inspired by the Japanese practice of tying prayers to a tree

Performance Art

In the 1960s and 1970s, artists explored theatrical actions or performances

Unlike traditional theater, there is rarely an identifiable story

Actions of the artist become the focus

Occurs in a gallery, on a stage, or in public and is rarely repeated

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Performance art has some similarities to theater because it is performed in front of a live audience; it includes varying amounts of music, dance, poetry, video, and multimedia technology

The performance usually takes place in consciously artistic venues

Photograph of John Cage in concert

2.10.4 John Cage, during his concert held at the opening of the National Arts Foundation, Washington D.C., 1966

Photograph of John Cage in concert

Relied on chance and improvisation

Influenced by Zen Buddhism

Emphasis on unrecorded performance

Expanded the scope of art to include the lived moment

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American composer John Cage (1912–1992) incorporated chance operations and experimental techniques

Theater Piece No. 1 (1952) was an unrecorded collaboration in poetry, music, dance, and paintings by the faculty and students at Black Mountain College in North Carolina

The performers mingled with the members of the audience, and the piece relied for its outcome on improvisation and chance rather than a script or musical score

Cage wanted to jolt his audiences into paying attention to life all around them

Artwork: Beuys, Coyote, I Like America and America Likes Me

2.10.5 Joseph Beuys, Coyote, I Like America and America Likes Me, May 1974. Living sculpture at the René Block Gallery, New York

Joseph Beuys, Coyote, I Like America and America Likes Me

German artist; incorporated his life experiences through symbolic elements

Was confined in an American gallery with a coyote for five days

Intended to activate a process of spiritual healing and reconciliation

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

German artist Joseph Beuys’ (1921–1986) early life under the Nazis and volunteer service as a fighter pilot in the German Air Force strongly influenced his artwork

He claimed that nomads rescued him in North Africa after a plane crash in World War II, and prevented him from freezing to death by wrapping him in fat and felt. Hence those materials become symbolic elements in many of his sculptures and performances

Felt was a major prop in his piece Coyote, I Like America and America Likes Me

When he arrived in America (and when he left), he was wrapped in felt in an ambulance and transported to the gallery so that he never saw his surroundings or touched American soil

The coyote is symbolic of the spirit world in native American mythology

Sought to make amends for the desecrations caused by the coming of Europeans to the New World

Myth surrounds the performance

Joseph Beuys, Eurasia Siberian Symphony

To learn about another artwork by Joseph Beuys, watch this video of a MoMA lecturer talking about Eurasia Siberian Symphony:

MoMA Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Vito Acconci, Following Piece

2.10.6 Vito Acconci, Following Piece, 1969, “Street Works IV,”, 23-day activity

Vito Acconci, Following Piece

Followed a person at random each day until they entered a private place

Conceptual performance lasted 23 days

Exhibition included documents of the events (notes and photographs)

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American artist Vito Acconci (b. 1940) is known for art actions and performances

The longest “following” lasted nine hours

It is about ideas and a set of actions as much as about the production of a work of art

In 1969, when the piece was first developed, it was regarded as a new idea

Examines the way an artist’s actions create interactions with another person

Artwork: Marina Abramović, The Artist Is Present

2.10.7 Marina Abramović, The Artist Is Present, Performance, 3 months. MoMA, New York, 2010

Marina Abramović, The Artist is Present

Known for performances of extreme bodily endurance

Every day for three months she sat quietly at a table in the MoMA, NYC

Visitors sat—one at a time, for as long as they wished —in the opposite chair

Created a silent “energy dialogue”

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Serbian artist Marina Abramović (b. 1946) has done a number of performance works dating back to the 1970s

The title of the piece poignantly calls attention to its purpose: for the artist to be personally in the space and engage with people, creating what she has called an “energy dialogue,” without talking, touching, or otherwise overtly communicating

The audience experienced the intensity of this seemingly simple interaction

This piece was a part of a retrospective exhibition of Abramović’s work, which was the first major performance exhibition at MoMA

Installation and Environments

An artist designs or re-creates an entire exhibition space as an artwork

Often “site-specific”: designed to fit the dimensions or environment of a particular location

Immerses viewers in the artwork

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Installation Art

(Media/Processes)

Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Detail of Edward Kienholz, The Beanery

2.10.8a Edward Kienholz, detail of The Beanery

Artwork: Edward Kienholz, The Beanery

2.10.8b Edward Kienholz, The Beanery, 1965 (restored 2012). Installation, 8’3½” × 21’11¾” × 6’2¾”. Stedelijk Museum, Amsterdam, The Netherlands

Ed Kienholz, The Beanery

Sought to break down barriers between art and life

Replicated the interior of his local bar

Transformed the space into an assemblage through the items and even odors it contains

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American Ed Kienholz (1927–1994) replicates Barney’s Beanery, complete with life-size figures inspired by people he knew

By placing clocks in place of the faces, Kienholz emphasized the fact that time now stands still in this sculptural tableau

The original soundtrack on tape has recently been converted to CD, and “odor paste” that smells like a bar is replenished by the museum

Artwork: Dropping a Han Dynasty Urn and Colored Vases

2.10.9 Installation view showing Ai Weiwei’s Colored Vases in front of his Dropping a Han Dynasty Urn, displayed at the “According to What?” exhibition, held at the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Ai Weiwei, Dropping a Han Dynasty Urn and Colored Vases: Art that Resists Categories: Interactions with the Individual

Ai Weiwei uses materials in unexpected ways

Activist art with political commentary

Dropping a Han Dynasty Urn: willfully destroying a valuable artifact

Colored Vases: covering ancient vessels with modern industrial paint

Gateway to Art:

PART 2

MEDIA AND PROCESSES

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 2.10 Alternative Media and Processes

Chinese artist Ai Weiwei (b. 1957)

This installation was shown at the Hirshhorn Museum and Sculpture Garden in 2012 in an exhibition called “According to What?”

Calls attention to called attention to issues of consumerism and commodification, appreciation and value, preservation and destruction, political commentary and personal responsibility

Mass production relates to the vases’ original context: hand made in large numbers. Now they are rare and highly valuable.

More recently mass-production has been accomplished (especially in Europe and the U.S). with industrialization, made my machines.

Mass production is also a focus of Pop artist Andy Warhol’s work, which influenced Ai’s approach to making art.

Comments on the way value is culturally determined

Artwork: Shonibare, Mobility

2.10.10 Yinka Shonibare,

installation view of Mobility,

James Cohan, New York,

2005. From left to right:

Man On Unicycle, 2005.

Metal, fabric, resin, and

leather, 86 ×53 × 47½";

Lady On Unicycle, 2005.

Metal, fabric, resin, and

leather, 86 × 53 × 47½";

Child On Unicycle, 2005.

Metal, fabric, resin, and

leather, 79 × 46 × 38½"

Yinka Shonibare, Mobility

Activates the gallery space with disembodied figures

Products of colonial exploitation (social/race and economic/cloth)

“Mobility” has layered meanings

Wealth, travel, bodily movement

Complexity in life and art

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

London-born Nigerian artist Yinka Shonibare (b. 1962) explores issues of race and colonialism

Shonibare inverts colonialist expectations by using cloth associated with poverty-stricken West Africans to outfit faceless and raceless aristocrats

Shonibare experienced paralysis after contracting a virus at age 19 and his bodily movement continues to be impacted

“Shonibare’s work parallels his life and world views: just as he cannot be easily labeled as Nigerian or British, his figures and the textiles they wear cannot be easily categorized according to class, culture, or physical ability.” (p. 358)

Out of the Shadows and into the Light: Enlivened Spaces

Using light to call attention to historical events

Bringing them into the present through commentary

Call attention to the way things have (or should have) changed

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Kara Walker, Insurrection! […]

2.10.11 Kara Walker, Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), 2000. Cut paper and projection on wall, dimensions variable. Installation view: Why I Like White Boys, an Illustrated Novel by Kara E. Walker Negress, Centre d’Art Contemporain, Geneva, Switzerland

Kara Walker, Insurrection! […]

Walker’s installations combine silhouettes, light projections, and shadows

The viewers’ shadows appear on the wall, implicating them in the events

Scene depicts a slave revolt in the antebellum South

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The installations of American artist Kara Walker (b. 1969) also address overlooked history: the pre-Civil War South.

Artwork: Yuki Kihara, Taualuga: The Last Dance

2.10.12 Yuki Kihara, Taualuga: The Last Dance, 2006. Performance/digital video. Still courtesy of Milford Galleries, Dunedin and Yuki Kihara. © Yuki Kihara

Yuki Kihara, Taualuga: The Last Dance

The artist performs as “Salomé”

Based on a 19th-century Samoan woman in an ethnographic photo

The dance is called taulauga

Embracing and dismantling stereotypes

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Samoan/Japanese artist Yuki Kihara (b. 1975) addresses issues of colonialism, (mis)representation, and consumerism

Her work calls attention to the romanticizing of Samoan island culture and oversimplification of ideas related to identity

Salomé wears a Victorian mourning dress (like the woman in Thomas Andrew’s 1886 photograph called Samoan Half-Caste)

Taulauga: carefully choreographed dance that is used for both celebration and narrative storytelling

Kihara is a fa’afafine, Samoan third gender

Artwork: Molly Gochman, Red Sand Project

2.10.13 A Red Sand Project participant spreads sand in sidewalk cracks in their neighborhood, New York City, October, 2015

Molly Gochman: Bringing Light to the Scars

A collective, participatory artwork

raise awareness about modern-day slavery and human trafficking

sidewalk interventions, earthwork installations, and discussions

“small actions build ... to make transformational change”

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Perspectives on Art:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Molly Gochman (b. 1978) is an American interdisciplinary and activist artist

The Red Sand Project is a collective artwork made by people in all 50 states and in more than 70 countries around the world

Calling attention to people who might be considered to have “fallen through the cracks”

Gochman describes how the artwork is being used to raise awareness and support for vulnerable populations “to question, to connect, and to take action against vulnerabilities that can lead to human trafficking and exploitation…. This project has shown me that while this is an incredibly sensitive issue, art gives space to share images and stories in a way that doesn’t exploit the people being affected.”

Using art to start conversations about a difficult topic that people might otherwise avoid and hopefully call people to action.

MoMA Videos

To learn more about alternative media and processes, watch these videos of MoMA lecturers talking about artworks from the MoMA’s collection:

Donald Judd,

Untitled (Stack)

Marcel Duchamp,

Bicycle Wheel

MoMA Video:

MoMA Video

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 2.10 Copyright Information

This concludes the PowerPoint slide set for Chapter 2.10

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PowerPoints developed by CreativeMyndz Multimedia Studios

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes

Picture Credits for Chapter 2.10

2.10.4 Rowland Scherman/Hulton Archive/Getty Images

2.10.6 Photo Betsy Jackson. Courtesy the artist

2.10.7 Photography by Marco Anelli. Courtesy the Marina Abramović Archives

2.10.8b Photo SuperStock. Copyright Kienholz, courtesy L. A. Louver

2.10.9 Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Photo Cathy Carver. Courtesy Ai Weiwei Studio

2.10.13 Photo Red Sand Project

PowerPoints developed by CreativeMyndz Multimedia Studios

PART 2

MEDIA AND PROCESSES

Chapter 2.10 Alternative Media and Processes