I admit to struggling a bit, with what is required for this exercise. I can’t work out what it means. “How does the image (that I have yet to choose) indicate a point of view for the spectator?” Does this mean, what is the point of view of the spectator supposed to be? Because I …
Category Archives: Part 2
Exercise 2.3 Utter Flatness
“Flatness alone was unique and exclusive to pictorial art” Greenberg, 1960 (quoted from the UVC manual) “The eye…is more directly compelled to treat the whole of the surface as a single undifferentiated field of interest, and this in turn, compels us to feel and judge the picture more immediately in terms of its overall unity” …
Exercise 2.2 Greenberg’s Kitsch, Vladimir Tretchikoff and Andrew Hewkin.
Vladimir Tretchikoff, the self-taught artist known as “The King of Kitsch”, was born in Russia, settled in China in the 1930s and moved to South Africa following the war. He worked in set design, and was a commissioned portrait painter and worked in advertising in America after the Second World War. He did have many …
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Exercise 2.1 Genealogy of the Modern: Alfred Barr, Edward Harris, Harry Beck.
Ah, The Barr Chart. Some years ago I studied archaeology, and something called the Harris Matrix. Invented in the 1970s, it is used in the recording of an archaeological excavation and “consists of a diagrammatic representation of the stratigraphic relationship between all the layers and features on a site. On a small, simple site this …
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Exercise 2.0: Modernism, Modernity, Modernisation: Redon, Modigliani and Klee.
“Modernism refers to a global movement in society that from the early decades of the twentieth century sought a new alignment with the experience and values of modern industrial life. Building on late nineteenth century precedents, artists around the world used new imagery, materials and techniques to create artworks that they felt better reflected the …
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Understanding Visual Culture with the Open College of the Arts 