After noticing that the rest of my scanned in lecture notes haven't worked, I have typed them up...
Slide 1:
Age of print began: 1450.
Marshall Mcluhan – media theorist – ‘Late Age of Print’.
Print has changed to accommodate new technologies and new media.
Slide 2:
Electronic book (E-book).
May take over printed form
Slide 3:
Computer media
The way we read has changed due to hypertext – blue underlined links – to other pages.
Hypermedia – pictures, audio etc.
Information is constructed by the user – pick and discard information.
Slide 4:
Modern systems of communication and distribution supplied by relatively small groups of cultural producers directed towards large numbers of consumers – definition of Mass Media.
Slide 5:
Thinking critically about the media.
Slide 6:
Negative points
- Superficial, uncritical, trivial.
- Viewing figures measure success.
- Audience is dispersed.
- Audience is disempowered.
- Encourages Status Quo (if conservative).
- Encourages apathy – feeling nothing can be done to change world – just sit.
- Power held by the few motivated by profit or social control (propaganda).
- Bland, escapist and standardised.
- Encourages escapism, seen as drug which anaesthetises.
Slide 7:
Positive:
- Not all mass media is low quality.
- Social problems and injustices are discussed by the media.
- Creativity can be a feature.
- Transmission of high art material reaches a broader audience.
- Democratic potential.
Slide 8:
Art in the age of mass media -
Book by John A. Walker
Slide 9:
Advertising – Toscani’s Benetton campaigns seek to appropriate sexual/cultural politics.
‘Leeds 13’ – university students.
Slide 10:
Key Questions:
- Can Art be autonomous? (exist on its own in a vacuum)
- Should Art be autonomous?
Slide 11:
Jackson Pollock painting.
No politics – a transcendental representation.
Slide 12:
Modern Art in the Common Culture
By Thomas Crowe
Slide 13:
Picasso -1913
Used newspapers and trappings from media.
Slide 14:
Richard Hamilton – ‘Just What Is That’
Trappings from media – gender references.
Slide 15:
Roy Lichtenstein.
Slide 16:
Close-up of artistic brush stroke in comic book style.
Slide 17:
Roy Lichtenstein – ‘Drowning Girl’
Slide 19:
Andy Warhol – ‘Green Coca-cola Bottles’ (1962)
Dismissed by critics – similar to criticisms from media today.
Signifies consumerism and its existence.
Slide 20:
Andy Warhol – ‘Marilyns’ (1962)
Found publicity image – repeated.
Anti-aesthetic – soap box colours.
Mistakes left in.
Constructing a fake idea – smiling Marilyn, but ‘behind the mask’ drug addict.
Slide 21:
Andy Warhol – ‘Big Electric Chair’ (1967)
Screenprint.
No emotion.
Slide 22:
Andy Warhol – ‘Ambulance Disaster’ (1967)
Repetition of images – and in the media leads to desensitisation of the audience.
Slide 23:
Playful attack on elite and upperclass – man as Mona Lisa in American Soap advert.
Slide 24:
Stone Roses cover – like Pollock.
Slide 25:
Franz Ferdinand – style of Rodchenko.
Slide 26:
L’Oreal Motif – like James Taylor.
Slide 27:
Pears Soap – artist allowed image to be used in advertisement.
Slide 28:
H.R. Geiger – artist – alien painting like Alien film.
Slide 29:
Marcus Harvey – ‘Myra’ (1995)
Most famously exhibited in 1997 at Sensation Exhibition.
Based on 1963 mug shot.
11 x 9 foot.
Made up of children’ handprints, represents the lives taken.
The title, ‘Myra’ implies intimate relationship – this kind of relationship has been had with her through the press.
Kidscape said it was sick and distasteful’.
Not to be distasteful or glamourise, it was about photography.
Pixelated style – meditates on medium not subject.
Conclusions:
- New Media changes the way text and or image is consumed.
- Theorists see media as negative and a threat.
- Alternatively, it can be positive – pleasurable and democratic.
Wednesday 2 December 2009
Wednesday 25 November 2009
Summary Exercise
- At the start of the twentieth century, an attempt to create a new art from a variety of nineteenth sources was made.
- Art movements emerged as a response to social change, for example Expressionism and Futurism represents the European reception of the modern age.
- There were two responses to the modern age, one view was pessimistic, concentrating on life being controlled by machinery and freedom being an ideology of the past.
- Contrasting with that was a more positive response, for example, from Marinetti, an Italian poet who was a symbolist until he created a new way of responding to this modern age.
- Advances in travel were evident, as before steam-engines were invented, no one had travelled faster than a horse, but then people began flying and racing motor cars.
- There was a third response, relating to the effect on art from the modern world, the development in the time before WW1 was very gradual although in the years after the Great War this development became stronger and dominant.
- Although there was evidence of architecture and machinery, when the third response is taken into account, modernisation was not essentially technological, but social as well, which was shown by the relationships formed between people.
- Expressionism and Futurism were examples of positive and negative artistic responses, of the modern/urban age. However, Cubism was the complete opposite and didn’t take into account what existed beyond the studio.
- In summary, there were two opposites that artists tried to bring together, on one side was the art that decoded the modern world and on the other side was the response that art must renovate itself.
Harrison, C. and Wood, P (1997) 'Art in Theory: 1900-1990', Oxford, Blackwell p 125-129
Wednesday 11 November 2009
Monday 9 November 2009
The purposes of these two images are the same, they are to persuade, but what the posters are persuading the audience to do are completely different. For example, the top image is an advert persuading people to buy the ‘Uncle Sam’s Range’ and the one underneath is persuading people to join the army.
The emotions that are evoked by looking at the poster are different, as with the Great War poster, it is supposed to bring about guilt to those not in the war, and a feeling of heroicness to those who fought and have stories to tell their children. This is carried out by the word YOU being underlined, as if the poster is directly aimed at the audience, which is a similar tactic used in today's advertising in adverts for charities, television adverts in particular, as these campaign’s repetitively use the word ‘you’ to personalise the message being communicated. Also the word Daddy, softens the tone and makes the message seem more childlike.
Whereas when you look at the Uncle Sam poster, it is supposed to make you want to buy the range, and buy into that lifestyle. This is also similar in today’s advertising when celebrities are used to advertise a particular lifestyle, for example using Thierry Henri, Tiger Woods and Roger Federer in Gillette adverts, this is a way of saying, ‘you could be as good looking as these people if you use this product’.
The classes of the protagonists in the images are very similar, as the man in the Great War image looks quite wealthy, and so do the children, the people in the Uncles Sam image look incredibly upper class due to their dress, their surroundings and the fact that they have a slave, featured in the bottom left hand corner of the image.
Judging by the man's expression in the image, he has not been to war, as he is Middle Class, and it was the working class who were enrolled to the army. So the target audience of this poster is aimed at the Middle Class with the aim to persuade them to enrol, this type of propaganda was common in the Great War. Forced conscription was not introduced until 1916, where every able man in the country was recruited to the army.
There are similarities in the way the messages are being communicated, the use of patriotism comes across, however, in the Uncle Sam image, this patriotism is much more obvious, for example, there are very strong references of the American flag featured throughout in the characters’ clothing, with the stripes and stars, which is the design of the wallpaper too. The messages of patriotism in the Great War poster are much more subtle, one reference is the pattern design on curtain, the roses, which are a symbol used to represent England, and secondly is the soldiers the young boy is playing with on the floor, they are not usual soldiers, they are the Queen’s guard.
The content of the type used in both posters are very different, in the Great War poster, the type is a question which is intended to sound like it is being asked by one of the children to the father, especially with the word, daddy. The type seems quite visually representative as it is a hand written style to personify it even more.
The emotions that are evoked by looking at the poster are different, as with the Great War poster, it is supposed to bring about guilt to those not in the war, and a feeling of heroicness to those who fought and have stories to tell their children. This is carried out by the word YOU being underlined, as if the poster is directly aimed at the audience, which is a similar tactic used in today's advertising in adverts for charities, television adverts in particular, as these campaign’s repetitively use the word ‘you’ to personalise the message being communicated. Also the word Daddy, softens the tone and makes the message seem more childlike.
Whereas when you look at the Uncle Sam poster, it is supposed to make you want to buy the range, and buy into that lifestyle. This is also similar in today’s advertising when celebrities are used to advertise a particular lifestyle, for example using Thierry Henri, Tiger Woods and Roger Federer in Gillette adverts, this is a way of saying, ‘you could be as good looking as these people if you use this product’.
The classes of the protagonists in the images are very similar, as the man in the Great War image looks quite wealthy, and so do the children, the people in the Uncles Sam image look incredibly upper class due to their dress, their surroundings and the fact that they have a slave, featured in the bottom left hand corner of the image.
Judging by the man's expression in the image, he has not been to war, as he is Middle Class, and it was the working class who were enrolled to the army. So the target audience of this poster is aimed at the Middle Class with the aim to persuade them to enrol, this type of propaganda was common in the Great War. Forced conscription was not introduced until 1916, where every able man in the country was recruited to the army.
There are similarities in the way the messages are being communicated, the use of patriotism comes across, however, in the Uncle Sam image, this patriotism is much more obvious, for example, there are very strong references of the American flag featured throughout in the characters’ clothing, with the stripes and stars, which is the design of the wallpaper too. The messages of patriotism in the Great War poster are much more subtle, one reference is the pattern design on curtain, the roses, which are a symbol used to represent England, and secondly is the soldiers the young boy is playing with on the floor, they are not usual soldiers, they are the Queen’s guard.
The content of the type used in both posters are very different, in the Great War poster, the type is a question which is intended to sound like it is being asked by one of the children to the father, especially with the word, daddy. The type seems quite visually representative as it is a hand written style to personify it even more.
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