An institution is by the online dictionaries description ‘an organization, establishment, foundation, society, or the like, devoted to the promotion of a particular cause or program, especially one of a public, educational, or charitable character.’ When referred to within an artistic context it’s usually in reference to organizations such as galleries and museums, but also educational facilities such as University. Institutions play a key role in the art world by acting as a platform to exhibit and sell artists work in an environment that is widely accessible to the general public. Museums also act as a space to preserve and display historical works of art for public viewing, artwork that would otherwise be held in private collections. Both …show more content…
Himself and other artists in the late 60s realized that institutions were becoming known for their “cultural confinement” and thus felt that this was something to attack aesthetically, politically and theoretically. In 1974 Haacke attempted to participate in the ‘Project 74’ exhibition, created in celebration of the 150th anniversary of the Wallraf-Richartz museum in his hometown of Cologne Germany. The work he planned to contribute was a piece entitled, Manet-PROJEKT’74, which was made up of ten paper panels reflecting his intensive research reveling the origin of Edouard Manet’s Bunch of Asparagus (1880), that in 1968 was donated to the Wallraf-Richartz museum. Within the research he reveals that the friends of the Wallraf-Richartz museum, in memory of Konrad Adenauer, the federal republic of Germany’s first chancellor, donated the painting. Through such research he discovered that Hermann Josef Abs, the chairman of the friends of the Wallraf-Richartz museum had been an important financial advisor and banker for Hitler’s Reich during the Second World War; and whom gained another position of high power as the chairman of the organization prior to the war ending. The piece was created to depict “how easily the posture of cultural benefactor allows an individual to ‘clean’ their ambiguous criminal past”(ewaneumann), even one as incriminating as an ex-Nazi. Each of the ten panels within the piece was titled by the exact price paid for the painting throughout its history and underneath, in Haacke’s own terms, were “CV’s of the paintings owners”. Thus demonstrating the inextricable entanglement of cultural ojects with political and personal history. Although as one would imagine Manet-PROJEKT’74 was rejected from the exhibition due to it explicitly criticizing the museum and it’s patrons; it was later exhibited at the Paul
The painting “A Bar at the Folies-Bergère” is detail oriented and depicts unpopular topics. Examples of the details are green shoes dangling, a lady using binoculars in the reflection of the mirror, and the colors on the lady’s cheeks. Manet’s uses oranges to represent prostitution, and to others this is an unpleasant topic. The painting is relevant today in that people want details on where all of their hard earn money has gone. Why are people losing their homes, and if the market is lousy, why is it only lousy for the lower and middle class?
... the visitor. Conspicuous consumption is exemplified through this painting and the museum because it was basically all created by overbuying and greed. It can be said that the single very reason anybody sees that painting hung on the wall of a misfit room in a disorganized museum is only because of one man’s extreme case of money flaunting in an age where everything needed to be big and flashy. Also this painting was created smack dab in the middle of the Gilded Age. The painting itself has no direct connection to this era but it makes an argument for why the piece is hung in the museum.
It is from the Neo-Assyran period during 883-859b.c.e. The highest relief would be its head. The writing was all around the statue in a different writing. It is very big and tall. It is on a good portion of the corner of a hallway. It looks kind of cool with a bull’s body with wings and a human’s head on it. The face is kind of funny because of the beard I guess if long and real even. The human-headed wing bull had five legs.
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
The color variation of this piece embraces a bit of pop art, which indicates the huge influence that Andy Warhol had on Basquiat at the time. A Lot of the clippings are bold but their color schemes are different such as the President Kennedy picture contrast with the superhero clippings contrast within dark red and light red with Kennedy’s picture. The mood of the painting expresses sadness and despair, but eagerness for hope.
The exhibit that I viewed at the Philadelphia Museum of Art was one about European Art between the years 1100-1500. This was a series of paintings, sculptures, architecture, and tapestry of the Medieval and Early Renaissance as well as objects from the Middle East. This exhibit was an important part of the history of the Philadelphia Museum of Art because for the first time, Italian, Spanish, and Northern European paintings from the John G. Johnson collection were shown. It gave me a good idea of what the paintings were like in these four centuries and reflected ideas of both the east and the west.
In an effort to ensure this memorial museum was meaningful, Mr. James Ingo Freed was chosen. Not only was he educated in this field, but was a survivor with his own personal experiences during this horrific time period. Freed was born in Essen, Germany in 1930. At the age of eight, James and his younger sister were removed from their home and sent to Chicago where they were later joined by their parents. James studied architecture at the Illinois Institute of Technology, and received his bachelor’s degree in 1953. In later years, Mr. Freed taught at major institutions such as Cooper Union, Cornell University, Rhode Island School of Design, Columbia University, and Yale University. He was also the Dean of the College of Architecture, Planning, and Design at the Illinois Institute of Technology (“Holocaust Encyclopedia”). One’s work ethic can be greatly influenced due to their emotional state of mind on certain topics; therefore, James was an excellent candidate that had personal ties to this museum...
Auden, W. H. ""Musee Des Beaux Arts"" The Longman Anthology. Ed. David Damrosch. New York: Longman, 2003. 2789-2790.
Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Metropolitan Museum of Art - Home. 2004. Accessed October 27, 2011. http://www.metmuseum.org/toah/hd/duch/hd_duch.htm.
I first visited the Guggenheim Museum two weeks ago with Claus, my friend from Germany. We had the MOMA in mind but I guess talking, talking we must have passed it by. Half an hour from the MOMA we found ourselves in front of the Guggenheim, the astonishing white building that was Frank Lloyd Wright's last project. Why not? We said to ourselves. And so we walked right in.
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.
The “privileged minority” mystifies works of art in order to control people’s view. Berger explains how Hals becomes after he painted the two paintings. According to Berger, “he obtained three loads of peat on public charity, otherwise he would have frozen to death. Those who now sat for him were administrators of such public charity” (158).
I was lucky enough to visit the Van Gogh Museum in Amsterdam in November of last year. The museum was located in somewhat of a museum park. The Rijks museum and the Stedelijk Museum are located on the same block. A beautiful landscape of ponds and trees are centered around them. The Van Gogh Museum has an audio tour available in all languages via a handheld tour guide. Unfortunately, funds limited me to get the audio tour, but I was able to nonchalantly follow a British couple around most of the five floors. The museum chronologically directes you through a collection of Van Gogh's and his contemporery's works.
Even though these attacks on modern art were not new to Germany, under Hitler they became more organized and constant. This is seen in one of Hitler’s priorities which was to organize and centralize institutions which would be necessary to carry out Nazi art policies. In September 1933, the “Reichskulturkammer” (Reich Culture Chamber) was established, with Joseph Goebbels in charge. With this creation of the Reich Chamber of Culture came controversy. During the period 1933-1934, confusion within the Party arose when the definition of Expressionism was being decided.