Tuesday, January 26, 2016

Damien Hirst Images


Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991

Damien Hirst, Mother and Child (Divided) 1993

Damien Hirst, from a 2009 interview about his paintings, here.

Damien Hirst, Entomology Series, 

Damien Hirst, Entomology Cabinets,

Andy Warhol, Little Electric Chair, 1965

David Hockney, A Bigger Splash, 1967


Damien Hirst, Leviathan, 


Damien Hirst, For the Love of God, 2007

Jeff Koons Images

Presentation #1: Kristin Adams

Jeff Koons 01.JPG
Jeff Koons, b. 1955, American
My presentation: Admitting Negative Bias. Artists to Watch whom I don’t want to Watch Homework: readings about Koons and Hirst from Sarah Thornton (on Blackboard)

Image from Vanity Fair, July 2014. Source. . Accompanying Caption: STUDIO SYSTEM The painting section of Koons’s studio, where assistants work on canvases for his “Antiquity” series. Paintings are stippled in sections and then hand-painted. To achieve his vision, Koons employs 128 people at his studio: 64 in the painting department, 44 in the sculpture department, 10 in the digital department, and 10 in administration. That’s to say nothing of the specialists, fabricators, and institutions he consults, including most recently M.I.T.’s Center for Bits and Atoms, led by Neil Gershenfeld. "

Jeff Koons ,Metallic Venus, 2010-2012

at work on a painting in Koons' Antiquity series

JEff Koons, from Celebration series, 2000's 
Jeff Koons,
Landscape (Cherry Tree), 2009 from Origines series,  10' x 13'

Jeff Koons ‘Three Ball Total Equilibrium Tank (Two Dr J Silver Series, Spalding NBA Tip-Off)’, 1985
© Jeff Koons

Jeff Koons, Three Ball Total Equilibrium Tank (Two Dr J Silver Series, Spalding NBA Tip-Off) 1985

Jeff Koons, Poodle, polychrome wood, 1991
Jeff Koons, Rabbit, 1986
Jeff Koons, Sandwiches, from Easyfun-Ethereal, 2000 

Add caption

Jeff Koons, Hanging Heart, 1994-2006

Relational Aesthetics

Rirkrit Tijravanija, Untitled (1271) 1993,

From the New Museum Site: "In the year 1271, the Italian explorer Marco Polo set sail on an epic journey to Asia. He returned to his native Venice twenty-four years later bearing numerous gifts and treasures. Legend has it that one of the things Marco Polo brought back from China was noodles, which the Italians quickly adopted and called their own: pasta. Though this story is now thought to be myth, it was nevertheless the impetus for Rirkrit Tiravanija’s Untitled (1271), first exhibited at the 1993 Venice Biennale in the Aperto section. The piece consists of a supply of instant noodles, carried into the gallery in an aluminum canoe, boiled in the accompanying pot of water, and then offered to visitors."

“The goal of ‘relational aesthetics’ is less to overthrow the museum than to turn it upside down, wreaking temporary havoc with its conventions and the visitor’s expectations of awe-inspiring objects by revered masters,” Times critic Roberta Smith wrote on the occasion of that exhibition. “The larger point is to resensitize people to their everyday surroundings and, moreover, to one another in a time when so much—technology, stress, shopping—conspires against human connection.”

Read more at http://observer.com/2011/09/the-fall-of-relational-aesthetics/#ixzz3Q9mHQfW4 
Follow us: @newyorkobserver on Twitter | newyorkobserver on Facebook"

Fluxus Manifesto, 1963, by George Maciunas

Flux Year Box 2, c.1967, a Flux box edited and produced by George Maciunas, containing works by many early Fluxus artists.

Cut Piece, a performance piece by Yoko Ono in which the audience is invited to cut off her clothing. This version was staged at Carnegie Recital Hall, New York, 21 March 1965. Still taken from a film by Albert and David Maysles

Picasso, Still Life with Chair Caning, 1908

Georges Seurat, detail from Sunday Afternoon on the Isle of La Grande Jatte, 1884

Odilon Redon, The Prince of Dreams, 1887

Gordon Matta-Clark, Food, 1972

Marcel Duchamp playing chess with Eve Babitz. He was 76; she was 20, the year was 1963 and it was a Duchamp retrospective in California.

Christian Boltanski, no Man's Land, New York Armory, 2010. details here.

Félix González-Torres (American, 1957–1996). "Untitled" (Portrait of Ross in L.A.), 1991. Candies individually wrapped in multicolored cellophane, endless supply. Dimensions vary with installation, ideal weight: 175 lb. source


Felix Gonzalez-Torres, “Untitled,” 1991. Billboard. Installation view of Felix Gonzalez-Torres Billboard Project. Artpace Foundation, San Antonio, TX. Jan.–Dec. 2010

Felix Gonzalez-Torres, Untitled (Perfect Lovers), 1991


Felix Gonzalez-Torres, Untitled , 1995

Ben Kinmont, Exhibition in your Mouth, 2013 details here.

Maurizio Cattelan, Errotin, le vrai lapin, 1995 (Gallerist Perrotin)

Thursday, January 21, 2016

Presentation signup Artists to Watch Today

Artists to Watch Today
                             ARH 2198-01    Dr. Betsy Towns
Office: Workplace West III, room 109      
                        Office Hours: by arrangement

"From early on, very early on, I understood that art is not   about what you say. It’s about these other things that you don’t say."              Cai Guo-Qiang

This active upper-level, content-, composition-,  and conversation-intensive course explores artists working today who appear poised to have significant impact on our culture.  We’ll engage with visual art from around the world, most from the 21st century, and fiction, criticism, theory, philosophy and multimedia responses to Art Today, working to determine what we each find important to watch.

Materials  –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Required Materials:
      Journal notebook or sketchbook.
o      Minimum 8 inches in any direction
o      dedicated to this class
      At least 100 4x 6 index cards
      Scotch tape
      24 pack crayons, or colored pencils, or, if you’re good with ‘em, markers
      6 mixed line pens, pref all black; pencils
      Readings will be available via email, on our blog, or on Blackboard. Assigned materials will include non-fiction, fiction, poetry, films, songs, ads, blogs; in short, a variety of forms. I will frequently ask you to print the readings and mark them up.
      Access to functional printer with paper and ink
      Class Blog: http://artisanlab.blogspot.com/  
      Films:     (Both available on Netflix streaming as of 1/5/2016)
o      Matthew Akers and Jeff Dupre, Marina Abramovic: The Artist is Present, 2012
o      Alison Klaiman, Ai Weiwei: Never Sorry, 2012
      We will be reading very significant chunks from Sarah Thornton, 33 Artists in 3 Acts. I recommend that you get a copy! but…. I will provide chapters on blackboard as needed
      Facebook: I have group for the class to share links, UNCSA Artists to Watch Today; I encourage but don’t require you to join.

Student Responsibilities  –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
      Description: ad earTo Learn is a verb…. come to class ready to think, build bridges, make knowledge. Learning takes root in play, experimentation and reflection. Find time and space for those
      Come to class on-time, prepared, and ready to engage.  Complete all assignments and bring a notebook and writing/drawing tools. 
       You are responsible for all the material in this syllabus. If you lose your syllabus, you can find it online. Print any syllabus updates and keep them handy.
      You are responsible for your education. Manage your schedule, act professionally, and contact me about any concerns you may have.
      Your behavior affects the experience and education of your colleagues, negatively or positively.  Someone checked out or not prepared drains energy from the class.  One engaged with the material and actively participating adds value for all.
      Above all: Be Curious. Take interest. Ask questions

 This course introduces you to practices of examining, analyzing, and interpreting images and articulating your responses to them in speech and in writing. Your questions, insights, and energy will drive the course and what you learn. Contribute to discussion each day. Please prepare homework carefully so that you are ready to contribute effectively in class.

At this point, you are likely familiar with the conventions of participation in college courses, but for the record: success in this course necessitates a community ethos – requiring active, sustained, purposeful engagement. Building and sustaining the community of this class is each of our shared obligation and responsibility.

We must engage with each other seriously, substantively, respectfully, and carefully. I work to structure and sustain a safe environment for creative and intellectual risk and practice respect for class members as well as their work at all times. I expect you to meet these same standards for professionalism. We will all:
      Take each other seriously, even (perhaps especially) if you disagree.
      Meet deadlines
      When confused: ASK QUESTIONS.

Major Assignments  –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
In addition to completing the assigned readings and class and homework assignments, major course requirements consist of
      Composition & Response book, including 3 small comp responses              30%
      3 compositions                                                                                               30%
      a final project.                                                                                                 20%
      Participation, presentation critiques, responses, etc.                                     20%

With each, seek the most appropriate form for the content you’re working with; this may be an essay (from formal to experimental to playful to…), a photo essay, a video, a performance, a work of art, a multimedia extravaganza.  For all of these, the key elements are the same, and they include:  a clearly articulated central idea, substantive development, coherent structure with an inviting opening and convincing finale, and form and presentation that suits the material and reveals your commitment to your work and your  audience.  You’ll evaluate the work of your peers on a variety of standards, and I’ll evaluate work in terms of content, craft, and creativity.

Acknowledgements:  You will use a variety of sources to gain knowledge about your subjects; always acknowledge those who have contributed to your understanding by providing sources and citations for information in the appropriate format 

Major Grades take into account Craft (care and attention to detail, unity of work), Creativity (inventive solutions to assignments and original and critical thinking), and Content (accuracy and substance of material created).

Major Due Dates:
2/9 Composition #1 and response due on blackboard and in book- notebooks due in class
3/17 Composition #2 and response due on blackboard and in book
4/7Composition #3 and response due on blackboard and in book
3/29 Catalogue Entry/ Museum Label
Presentation : sign up
5/4, 1:00-3:00 Final Project Exhibit and Critique – notebooks due

Course Calendar –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

This calendar outlines the course generally.  I will introduce much more material in class, and assignments and due dates are subject to change given caprices of weather, health, and the culture of the classroom.  You are responsible for being up to date so watch for any syllabus updates on the course blog and via blackboard.

For every reading/viewing assignment, you must either answer specific questions I pose or write a half page response to the aspects that interest in your journal before class.

2/2 Presentation
2/23 Presentation

2/25 Presentation Madeleine 

2/26 last day to withdraw

3/1 Presentation 

3/3  Presentation Katia

3/5-3/13 Spring Break

3/15 Presentation Trent

3/22  Presentation Chelsea

4/5 . Presentation Chandler

4/12 Presentation Giselle

4/19 Presentation Russel


4/26 Presentation 

In twenty minutes, teach us something substantive about a contemporary artist to watch, or a group of artists or artworks you see as connected.  Consider the best way to deliver the information so that it is unforgettable, and uniquely connects form and content.

Structure your information in some way – a handout, a Powerpoint, prezi, a blog are the traditional ways; a monologue, a performance a film also work.  Do not try to wing it. Avoid relying on others’ material (video, for example) too much  Twenty minutes is a long time.  Be prepared and have something substantive to teach.