SEMIOTICS - science of signs/ how things mean/ how things attain that meaning
-literal meanin DENOTATION
-cultural associations CONNOTATION
-changes in the moment SYNCHRONIC
-development over time DIACHRONIC
Thursday, 30 March 2017
Monday, 27 March 2017
SB2 - Study Task 7 - Visual Response GROUP CRIT & RATIONALE
FEEDBACK
Further to the discussions had with my peers on my presentation and the synthesis of my work so far, I received some new feedback which will drive the focus and development of my project in line with a new rationale.
With my new responses presented, the use of existing imagery and language was very well received, my peers identified that my illustrations now fostered an immediacy and tone of voice that suited the kitsch theme and underlying ideas of my project.
Considering the holographic and metallic papers I had used, it was suggested that I could enhance the novelty aesthetic of my work using pop-ups and lift the flap elements, to almost trivialise the imagery.
Other feedback/ themes identified by peers:
- playing on the idea of forgotten art works well to achieve satire
- characterising statues and portraiture
- keep on playing with language as these get to the point and achieve humour
- keep playing with existing imagery to maintain kitsch aesthetic
- start considering vernacular icons - elvis/ michael jackson
- consider more concise slogans to create more immediate images
- mix high art with pop culture
- religious iconography
Look at - RICHARD HAMILTON/ PETER BLAKE/ TERRY GILLIAN
This feedback session has provided me with some new directions to explore and some more specific approaches to elements I have already been experimenting with to drive more developed outcomes. With the practical work I have carried out, feedback I have received and theoretical ideas explored throughout the module, I can create a rationale to direct my project towards a coherent conclusion.
RATIONALE
Working within the theme of kitsch, I am exploring re-appropriation of imagery and the characterisation of high art imagery. The methodologies I am working with are mainly collage and exploration of language. These approaches seem fitting to the development of high-art imagery towards more novelty outcomes and invite a comical tone of voice to support the novelty aesthetic of kitsch cultures. John Berger's discussions of reproduction have driven me to explore re-appropriation of imagery to challenge the stability of aura and meaning in art. Through garish media and conventional kitsch colour palettes, I am working towards novelty iconographies that capture vernacular culture. Working towards a conclusion, I will focus my work towards novelty shrines to vernacular culture in light of Berger's reproduced image.
Wednesday, 22 March 2017
Lecture 14 - Post-Modernism
-recycling old concepts
-impurity
-futility
pluralism
-pessimism
-backlash on modern life and technology
-disillusionment with the idea of absolute knowledge
-criticism of cultural authority
Sunday, 19 March 2017
SB1 - Analysing Sources JOHN BERGER
ANALYSING SOURCES
Responding to feedback received on my draft submission, I have further researched the issues of reproduction and commercialisation of images through the writings of John Berger. I have identified some key quotes and started to consider how these might triangulate with existing themes and issues raised in my essays.
KEY QUOTES AND INITIAL IDEAS
'When the camera reproduces a painting, it destroys the uniqueness of its image. As a result its meaning changes. Or, more exactly, its meaning multiplies and fragments into many meanings'
-Does reproduction taint the aura of an image, or simply offer an alternative interpretation. Perhaps meaning relies on context and as such, the reproduction is an entirely different image.
'Because of the camera, the painting now travels to the spectator rather than the spectator to the painting. In its travels, its meaning is diversified'
-With access to photographs and reproductions, the viewer no longer has to go on a pilgrimage to view the art in its holy space, in that sense, contextual aura is removed.
'It is no longer what its image shows that strikes as unique; its first meaning is no longer to be found in what it says but what it is'
-Aura is maintained in reproduction as the viewer now becomes aware of the originality and rarity of the image, rather than its original meaning or symbolism.
The original of a reproduction is 'an object whose value depends upon its rarity'
-No longer defined by history and socio-cultural contexts but by process and its survival.
'When a painting is put to use, its meaning is either modified or totally changed'
- Is an object displaying a work of art so far removed from the original work that it does not tarnish its aura?
'The masses, thanks to reproductions, can now begin to appreciate art as the cultured minority once did'
-Reproduction brings art culture to a wider audience that can perhaps admire it in a way similar to that of its original audience. Or is Berger satirical of the fact that reproduction removes art from its elite realms and high-brow conventions.
Working back through my essays and triangulation work, I will analyse Berger's discussions in line with my own ideas and identified problems and begin to strengthen my written work with this new source and new evidence.
Responding to feedback received on my draft submission, I have further researched the issues of reproduction and commercialisation of images through the writings of John Berger. I have identified some key quotes and started to consider how these might triangulate with existing themes and issues raised in my essays.
KEY QUOTES AND INITIAL IDEAS
'When the camera reproduces a painting, it destroys the uniqueness of its image. As a result its meaning changes. Or, more exactly, its meaning multiplies and fragments into many meanings'
-Does reproduction taint the aura of an image, or simply offer an alternative interpretation. Perhaps meaning relies on context and as such, the reproduction is an entirely different image.
'Because of the camera, the painting now travels to the spectator rather than the spectator to the painting. In its travels, its meaning is diversified'
-With access to photographs and reproductions, the viewer no longer has to go on a pilgrimage to view the art in its holy space, in that sense, contextual aura is removed.
'It is no longer what its image shows that strikes as unique; its first meaning is no longer to be found in what it says but what it is'
-Aura is maintained in reproduction as the viewer now becomes aware of the originality and rarity of the image, rather than its original meaning or symbolism.
The original of a reproduction is 'an object whose value depends upon its rarity'
-No longer defined by history and socio-cultural contexts but by process and its survival.
'When a painting is put to use, its meaning is either modified or totally changed'
- Is an object displaying a work of art so far removed from the original work that it does not tarnish its aura?
'The masses, thanks to reproductions, can now begin to appreciate art as the cultured minority once did'
-Reproduction brings art culture to a wider audience that can perhaps admire it in a way similar to that of its original audience. Or is Berger satirical of the fact that reproduction removes art from its elite realms and high-brow conventions.
Working back through my essays and triangulation work, I will analyse Berger's discussions in line with my own ideas and identified problems and begin to strengthen my written work with this new source and new evidence.
Monday, 13 March 2017
Lecture 13 - Modernism PART 2
-harnacing the power of the new
-anti-historicism
-inventing
-truth to materials, new ways of making - raw materials/ new technologies
-INTERNATIONALISM
-Education as the key to emancipation
Sunday, 5 March 2017
Lecture 12 - Modernism PART 1
-industrialisation and urbanisation of the city
-modern artists response to the city
-psychology and subjective experience
-vocabulary of style
-idea of FORM FOLLOWS FUNCTION
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