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Lecture 4

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FAH354 Canadian Art – Lecture 4 *Sid smith room 1084 drop in session on Friday Conceptualism Idea (concept) over execution; conception over perception Mental is more important than the optical Claim is made via the aesthetic VS claim IS the aesthetic Emphasis on action, on what an image does (not how it is done or what it is of) Importance of language N.E. Thing Company 1967 Two person group *talk about works of art that were on covers of art magazines -Joyce Leeland’s Lips Bagged Coasts, cover of ARTSCANADA (June, July, 1967) -Canada shown in a bag form -commercialization and commercial products -taking from BC slogans (Beautiful BC) - you would see imagery of mountains and sail boats all over -NETCO picks up on this sense of packaging At the same time in BC, there is tension between advertising natural beauty and also the resource industry Come and see nature, but we’re actually cutting down all those trees N.E. Thing company picked up on this tension Art movement that has been of predominant importance is Conceptual Art The idea that a claim or argument about something is made THROUGH the aesthetic The art makes the claim Importance of language – the fundamental difference from other forms of art during this time One member of the company: “Ian Baxter &” changed his name because he likes the idea of expansion/always adding FAH354 Canadian Art – Lecture 4 Inclined to Think When you bring in topic of conceptual art you have to discuss American artists Ideas do not necessarily proceed in logical order. They may st off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality Sol LeWitt Certificate for Wall Drawing #95, 1971 ‘this is a diagram for the Sol LeWitt wall drawing number 95 … it should accompany the certificate if the wall drawing is sold or otherwise transferred but is not a certificate or a drawing’ Conceptual art took over the world in the late 60s LeWitt, Wall Drawing #150 (ten thousand one-inch lines evenly spaced on each of six walls) 1972 Art becomes a sort of idea machine The actual hand work of how well you draw the lines is not the point of conceptual art Conceptual art, more than other materially based media, tended to travel quite easily It is easy and quick to send instructions to a gallery and tell them what to do The idea of borders becomes unimportant N.E. Thing Co., DPMA Conference Booklet 1970 They were included in a business exposition They incorporated N.e. Thing company (or NETCO is the short form) Ian Baxter and his wife Ingrid Baxter (she later dropped out of the partnership) then he later ended the company and just became Ian Baxter & They got themselves into these business settings and they went to trade shows FAH354 Canadian Art – Lecture 4 Exchanged information on art and beauty The IDEA here – is to become a company The Baxters were very definitely artists They also famously ran the business out of their suburban house in Vancouver -wasn’t in the usual downtown core, they ran it from their house -they overlapped the domestic and business NGC Installation, 1969 National gallery of art used to be an office building NETCO took over part of it and turned it back into an office site – it was their art exhibit Early installation art in the late 60s-early 70s NETCO were not just making fun of ‘business’, they really wanted to infiltrate and take advantage of technology and connection that business world offered and the art world did not Act Art – NETCO Iain Baxter Certificate made to make it official, like a company Made official seals and everything to certify something as ‘art’ ART stands for – Aesthetically Rejected Thing -they would go around to contemporary works and claims them as “ART” ACT stands for – Aesthetically Claimed Thing -NETCO certifies things as art NETCO – ian his wife and their kids, would go around suburban Vancouver and find things that they would claim as art ACT #13: Fallen Logs, NETCO 1968 Claim is written on the photograph ACT #25:three orange columns VSI – Visual Sensitivity Information According to NETCO we should just do away with the word/concept of art, and just use VSI Dan Graham, Homes for America, 1966 FAH354 Canadian Art – Lecture 4 From the States A lot of interaction between American and Canadian contemporary artists\ NETCO was in front page articles in America, they all interacted with everyone Homes for America – subdivisions in New Jersey Graham would go around and photograph these types of new homes for Americans and describe them These weren’t really art objects or really architecture NETCO, information catalogue, 1970 Talk about where and when photos were taken Baxter with a telex machine – it was a new hot technological machine in the business world -allowed for instantaneous communication Shows the artist working with their mind rather than with materials (sitting at his desk with the telex machine) Jeff Wall, Landscape Manual, 1969 Came up with a landscape manual It is very dull he was going around in his truck and took low quality photos (this is part of the point – it’s something anyone could do without any professional training) He always included his mirror as a reference point Writes stories of what he sees and imagines Very long booklet about things that seem every day, but Wall is CLAIMING thenm Edward Ruscha, Every Building on the Sunset Strip 1966 **Compare with MICHAELAWAD Just boring photos of every single building Art is the concept, notion of series, inclusion Ruscha, Some LAApartments 1965 He also did gas stations FAH354 Canadian Art – Lecture 4 NETCO, ¼ mile landscape, PEI, 1969 They would put up a sign saying you will soon pass a landscape Then it says ‘start viewing’ and you slow down And then there is a sign that says ‘stop viewing the landscape’ You’ve had your aesthetic experience, that’s enough What’s claimed is the ¼ mile between those two sign posts Landscape itself, the genre, it is completely a construction of our own minds – we tell you when to turn on and off that point of view Viewing from one certain point to another like on a canvas Seymour R., Reflected Landscape 1968 It’s how you were supposed to see BC at the time – area of natural beauty How do you frame that? Put a mirror in a water landscape The mirror reflects the landscape behind NETCO, CSI Formula #14 Moving some stones around in an ordinary place Taking photos of them Iain Baxter&, TV Works, 2003-6 Got old TV setsand painted landscapes on the front of the screen and scraped out some of the paint Then TV turned on and flickered annoyingly It’s a picture painted onto a TV screen It never changes – therefore nothing like a TV Rather than having one he has many FAH354 Canadian Art – Lecture 4 Do we get our idea of landscape from media? Iain Baxter&, L&NDSCAPE, 2012 – insallation in North Vancouver City Library He’s photographing the word ‘landscape’? You don’t photograph the WORD landscape, you photograph the thing in nature that is CALLED landscape *theme of language Jack Chambers, the 401 Towards London No 1 1968-69 Chambers was not a conceptualist but knew about it Connection – LANDSCAPES Saw the view of landscape in his rearview mirror and took a photo of it (later on) and then he squared it up on canvas Photography is very important to the method But he doesn’t want his work to look photographic He thinks: Perception: the intention to imitate experience by art-craft I call
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