This week I reviewed Bennett’s article called, “Tortured genius: The legality of injurious performance art” from the June 1, 2017 edition of Alternative Law Journal. As the title suggests, Bennett analyzes self-harm art through the perspective of Australian law. The author is able to find examples of injurious art spanning from 1970 to 2014. He attempts to remain objective of the subject matter by opting to use the term “injurious” instead of other terms that he cites, such as “body art”, “masochistic performance, or “hardship art” which could be construed as subjective terms (Bennett, 2017, p. 25). Bennett is a lawyer, so his writing style, while simplistic, is aimed towards other lawyers. Also, since the journal that the article appears in is bases in Australia, and Bennett is a lawyer in Australia, the article focuses on Australian common and criminal law. Having a background in Australian law would make the article more …show more content…
For instance, lawyers may find the article to bring up interesting points about art and lead to discussions about censorship and art or what makes injurious performance art different from injuries sustained in sports. Artists, on the other hand, may be disappointed because the article does not offer a clear answer if injurious performances, even fully consensual, is legal. Then there is the perspective of individuals who witness injurious performance art. Some individuals against this form of art may be disappointed that the article does not outright decry public forms of injurious art because they consider the performance disturbing and should be banned. A few individuals may be disappointed that there is no clear cut answer to legality in injurious performances. What this article does well is presenting multiple sides to the argument and using materials from various
The similar controversial natures of Fury’s Kissing Doesn’t Kill and Manuel Ramos Otero’s “Nobility of Blood” suggest that perhaps their intended audiences may have shared characteristics as well. Because Kissing Doesn’t Kill is a piece of poster art, it was displayed out in the public, instead of a museum or convention like usual pieces of art. The poster was plastered in large sizes to the sides of public transportation buses, billboards, and even mass mailings. People of all kinds of backgrounds came across the artwork, whether they wanted to or not. However, since the point of activist artwork like this is to create social change, the effect of this artwork on its viewers is the main focus. To people who agreed with the statements on the
In the great tradition of classical art, nudity and death have been two main themes of the masters. Sally Mann’s photographs twist this tradition when the nudes are her prepubescent children and the corpses are real people. The issue is that her photographs are a lens into unfiltered actuality, and consumers question the morality of the images based on the fact that children and corpses are unable to give legal consent. Her work feels too personal and too private. Mainly, people question whether or not Mann meant to cause an uproar with her work or if the results were completely unintentional. After looking through what Sally Mann herself has said, it can be determined that both options have a grain of truth. She wanted to provoke thought,
My article of choice is “On pins and needles defending artistic expression” this article was posted on boston.com on April 8, 2010, written by Carol Rose. Carol Rose is a really busy woman, graduating from Stanford University and Harvard Law school, Carol is the executive director of the ACLU of Massachusetts, starting in January 2003, an attorney specializing in First Amendment and media law, intellectual property, civil rights, and international human rights law , and a journalist. “Carol has spent her career advocating for human rights and civil liberties both in the United States and abroad, including Afghanistan, Pakistan, Nepal, Japan, Sri Lanka, Israel, the West Bank and Gaza, Northern Ireland, and Vietnam”. (https://aclum.org/about/staff-advocates/carol-rose/).
... performance pieces from becoming materialized via their documentation, one still finds many discreetly taken photographs and videos of his pieces circulating the web. Likewise, the reception of Yoko Ono’s 2003 reprisal of Cut Piece (1964) as captured by CBSnews.com’s article, “Crowd Cuts Yoko Ono’s Clothing Off” is typical of the sensationalized reception which characterizes the market consumption of avant-garde practices . So Burger was right in saying the culture industry consumes the most radical of gestures, for no one is completely outside the market, the circuit of exchange. On the other hand, no one is completely inside of it—there remain parts of humanity to which the market can stake no claim, Following this, we can perhaps write this addendum to the avant-garde demand: to integrate art within life-praxis, and make visible what is absent from both .
Inside the yard now stands a freshly painted mural, sixty feet wide and twelve feet high. The work is the result of weeks of designing and planning, and with luck it might last as long on the train as it already has on paper. What the boys have done, what has taken place inside that trainyard, is a work of art. [Let us begin with a basic assumption. One may object to graffiti on social or moral grounds, but only in the most conservatist terms can it not be considered “art.” Any idea of art which does not go out of its way to disinclude vandalism will, in fact, contain graffiti. We will, then, put aside social and moral considerations for the duration, and consider graffiti as art.]
People can have many different opinions depending on a topic, but what is truly difficult is getting a complete level of understanding from every opinion, or understanding the point of view of each opinion. Even accepting the points of view can be difficult for some people, who believe that their opinions are right. Luckily, people can learn about the other person’s frame of reference, and at the very least understand the topic or the person a little better. This particular topic is art, which is known for its multiple possible perceptions or its many different messages that it can send a person or group of people. In this way, people can learn more about the thought processes and feelings of others. Unfortunately, with differing opinions,
“By working dying people into his act, Jones is putting himself beyond the reach of criticism. The dying people are viewed on videotape. He thinks that victimhood in and of itself is sufficient to the creation of an art spectacle. The cultivation of victimhood by institutions devoted to the care of art is a menace to all art forms.”
Art for Art's Sake: Its Fallacy and Viciousness. The Art World, Vol.2. May 1917. 98-102
Arts criticism is the verbal or written discourse about works and/or movements of fine art. To develop this criticism, one would need to evaluate the work of art, and then make a judgment call about it. But what exactly makes for great arts criticism? Surely an amateur freshman just starting out an arts criticism class can’t facilitate a discussion about a work of art to the same caliber as experts such as Noël Carrol and Edith Wharton. Despite living nearly a century apart, both provide similar insights on what arts criticism entails and should accomplish. However, because Carrol specifically outlines the operations of criticism, as well as the importance of making a value judgment, his perspective on arts criticism is a stronger and more educational perspective than Wharton’s.
When I first read about Marina Abramovic, I found her performance art can be both shocking and hold the attention of one. Her work ranges in physical intensity, emotional exposure, and sadness. Marina Abramovic work is about self abuse, self discipline, and unreasonable punishment and great courage. Through the conditions she puts herself and her audience in her performance. In my opinion, I feel Marina Abramovic and my main goal as an artist is not only to completely change the way art is seen by the public, but to push the performance the same line as fine art.
Then, using ART or not is a personal decision, taking into account all aspects that it involves. There are advantages for many people that have more value than the disadvantages. Nowadays, society is most morally permissible, and is concerned over personal needs more than the social consequences. Although there is always the preoccupation of the limits of science, but the most common thought is that "it is not an issue for us,” law, religion, and scientists are those who must solve it.
Issue: The Lawrence Wilson Art Gallery is proposing an exhibition for the Perth International Art Festival. An artwork is being proposed that pushes ethical boundaries. This said artwork is ‘Helena’ by Marco Evaristti. Imagine you are a member of a UWA human or animal ethics committee and have to decide whether the artwork can be exhibited at UWA.
To argue that this form of art is 'bad' art, one must have a reference
This paining by Edward Hooper is of a lady sitting on a bed in a hotel room wearing nothing but just a shirt. The painting has bright colors like yellow and red but they do not bring life in to the painting. instead they push more focus on to the shadow in the canvas and the dark green couch that set the depressing look in the image. The women sitting on the bed is slouched over as if she is exhausted. There is what seems like a soldiers’ helmet sitting on the shelve on the right. The lady who is the focus of this piece has a book in her had but from the way its slouched over at the tips of her fingers the viewer can identify that she is not interested in it. There are two suitcases on the floor that seem unopened however her pants seem to
middle of paper ... ... Although subject to change in different cultures, the societal norm of placing an ethical code helps us to set the “right” amount of boundaries in areas of knowledge, including the arts and the natural sciences. Like I said before, there are many complications to this as both scientists and artists are put in situations where they must face the fine line between having a scientific/artistic role or ethical role in creating opportunities for knowledge. Works Cited McKie, Robin.