scholarly journals Notas sobre a interface em Harun Farocki e Robert Rauschenberg

2020 ◽  
Vol 20 (36) ◽  
pp. 154-175
Author(s):  
Alessandra Bergamaschi
Keyword(s):  
Robert Rauschenberg

O artigo aborda a reflexão de Harun Farocki sobre as conversões – ou interfaces – entre o mundo e as imagens técnicas, tema crucial na década de 1990 devido à convergência entre novas mídias, arte e cinema. Propomos, a partir disso, uma digressão histórica sobre os sinais dessas conversões na obra de Robert Rauschenberg na passagem entre modernismo e pós-modernidade.

Screen Presence

2016 ◽  
Author(s):  
Stephen Monteiro
Keyword(s):  
Contemporary Art ◽  
Social Contexts ◽  
Popular Media ◽  
Andy Warhol ◽  
Film Culture ◽  
Artistic Practice ◽  
Popular Film ◽  
Robert Rauschenberg ◽  
Mona Hatoum ◽  
Source Materials

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

Junk aesthetics in a throwaway age

2017 ◽  
Author(s):  
Anna Dezeuze
Keyword(s):  
United States ◽  
Zen Buddhism ◽  
The United States ◽  
Human Condition ◽  
Consumer Society ◽  
Planned Obsolescence ◽  
Consumer Capitalism ◽  
Robert Rauschenberg ◽  
East And West ◽  
Post War

For Arendt, the fragile balance between labour, work and action that lies at the heart of the human condition was fundamentally endangered by the planned obsolescence characteristic of the new post-war consumer capitalism. Artworks displaying a ‘junk’ aesthetic produced on the East and West Coasts of the United States in the period between 1957 and 1962 can be read in light of Arendt’s perspective, which intersected with both sociological critiques of the new capitalism and the writings of Zen master D.T. Suzuki and other popularisers of Zen Buddhism. Jack Kerouac’s 1958 novel The Dharma Bums resonated with both critiques of consumer society and newly discovered Zen alternatives. This chapter outlines some of the links between Kerouac’s Beat aesthetic and the assemblage and happenings of the early 1960s, by analysing the reception of landmark exhibitions such as The Art of Assemblage in 1961, and the practices of Robert Rauschenberg, Claes Oldenburg, Bruce Conner and Allan Kaprow.

Performance Art in China

2018 ◽  
Author(s):  
Adele Tan
Keyword(s):  
Performance Art ◽  
Lived Experiences ◽  
Economic Reforms ◽  
Art Museum ◽  
Body Art ◽  
Art Making ◽  
Robert Rauschenberg ◽  
Western Art ◽  
Authoritarian State ◽  
Cultural Constraints

Performance art events began in China in the 1980s following Deng Xioping’s post-Mao economic reforms in 1979, which exposed Chinese socialist society to foreign investments and influences. In 1985, at a time when China’s mainstream art was mostly defined by official Academic Realism or Socialist Realism, incipient strands of avant-gardist experimentation were surfacing through informal art groups. Robert Rauschenberg, for instance, held a solo exhibition at the National Art Museum of China, Beijing. The exhibition displayed innovative readymade assemblages, installations and collaborations, introducing Chinese audiences and artists to major trends in contemporary Western art, including the breaking of aesthetic and conceptual boundaries, thus motivating artists away from deeply embedded modes of thinking and art-making. Rauschenberg’s exhibition confirmed a rising awareness in China that art could embrace participatory agency, and break down rules of perception and action, while expanding the possibilities of the duration, place, and materials of art. China’s performance art questioned thresholds of visuality and aesthetics, and was widely translated into Chinese asxingwei yishu [behaviour art], while also referred to as xingdong yishu [action art], shenti yishu [body art], and most recently xianchang yishu [live art]. The implication of human behavior and conduct in the translated term reflected performance art’s function in addressing lived experiences under socio-cultural constraints in an authoritarian state, as well as social change and upheaval during China’s transition into a socialist state with capitalist characteristics.

Hopps, Walter (1932–2005)

2018 ◽  
Author(s):  
Ken D. Allan
Keyword(s):  
New York ◽  
Los Angeles ◽  
American Art ◽  
The United States ◽  
Art Museum ◽  
Pop Art ◽  
Marcel Duchamp ◽  
Robert Rauschenberg ◽  
The 1960S ◽  
Joseph Cornell

Walter Hopps was an American art dealer and curator of modern and contemporary art. Best known for organizing the first museum retrospective of Marcel Duchamp in 1963 at the Pasadena Art Museum (now the Norton Simon), Hopps was a pioneering example of the independent, creative curator, a model that emerged in the 1960s in the United States From his start as an organizer of unconventional shows of California painters on the cultural fringe of conservative Cold War-era Los Angeles, Hopps became one of the most respected, if unorthodox, curators of his generation, holding a dual appointment at the end of his life as 20th-century curator at Houston’s Menil Collection and adjunct senior curator at the Solomon R. Guggenheim Museum in New York. Some of his noted exhibitions include: in Pasadena, a 1962 group show that helped to define pop art, The New Paintings of Common Objects; the first U retrospectives of Kurt Schwitters (1962) and Joseph Cornell (1967); Robert Rauschenberg retrospectives in 1976 and 1997 at the National Museum of American Art and Menil Collection, respectively; a 1996 survey of Edward Kienholz for The Whitney Museum of American Art; and a James Rosenquist retrospective in 2002 at the Guggenheim.

Readymades

2018 ◽  
Author(s):  
Danielle Child
Keyword(s):  
New York ◽  
John Cage ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Jasper Johns ◽  
Robert Rauschenberg ◽  
The Status ◽  
The 1960S ◽  
Common Understanding ◽  
Bicycle Wheel

In 1916, the French artist Marcel Duchamp coined the term "readymade" to describe a body of his own work in which everyday and often mass-produced objects were given the status of a work of art with little or no intervention by the artist beyond signing and displaying them. He began to produce these works in Paris, beginning with Bottle Rack (1914) and Bicycle Wheel (1913). (Duchamp, however, did not explicitly acknowledge these works until his move to New York in 1915.) These two works present examples of the two distinct types of readymades: readymade unaided and readymade aided. The most well-known readymade is Duchamp’s Fountain (1917), which was famously refused entry into an exhibition with no entry conditions. Much later, Fountain became symbolic of the emergent shift from modernism to postmodernism in the 1960s, with the group of artists who gathered around the composer John Cage, including Robert Rauschenberg and Jasper Johns, sometimes referred to as the neo-avant-garde. It was during this period that Duchamp’s account of the function of the readymade was consolidated into the now common understanding, which is that "readymade" constitutes an object chosen by an artist and declared to be art.

scholarly journals The E.A.T. Datascape: An Experiment in Digital Social History of Art

2019 ◽  
pp. 110-137
Author(s):  
Christophe Leclercq ◽  
Paul Girard ◽  
Daniele Guido
Keyword(s):  
Social History ◽  
Art History ◽  
Digital Design ◽  
Art World ◽  
Robert Rauschenberg ◽  
Art And Technology ◽  
The Social ◽  
History Of Art ◽  
History Of ◽  
Interdisciplinary Projects

Experiments in Art and Technology (E.A.T.) is an organization co-founded in 1966 by artists Robert Rauschenberg and Robert Whitman, and engineers Billy Klüver and Fred Waldhauer, in order to support collaboration between artists and engineers. The E.A.T. datascape is a digital instrument for analyzing the digitized traces left by its members via many available resources. Its aim is to study as closely as possible the complexity of collaborative interdisciplinary works. The E.A.T. datascape methodology makes it possible, by means of an anthropological action-centred approach, to go beyond the distinction between art history and art sociology and to renew the social history of art by challenging the notion of authorship and by describing the work as constituted by the intersection between heterogeneous trajectories, rather than an object within a context that would influence it, or constitute its environment. In other words, it allows us to reflect on what digital design does, in turn, to the social history of art, and to put forward hypotheses about what a digital social history of art might be or could offer to the study of complex, interdisciplinary projects that are multiplying in the contemporary art world.

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