Loading in 2 Seconds...
Loading in 2 Seconds...
From last session….Screen printing: http:// www.youtube.com / watch?v =wogKeYH2wEE.
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
From last session….Screen printing: http://www.youtube.com/watch?v=wogKeYH2wEE
REVIEW: Postmodernism in art started during the second half of the 20th century, and has to a certain extent continued through contemporary practice. It was characterised by its challenging of previously held views.
Julie Rrap (Aust., b. 1950 )Untitled (after Manet's 'Olympia') 2002,digital print on canvas 177 x 251 cm and cast bronze digital image (vuter technique)85 x 50 x 150cm
In the 1960s/70s Performance Art developed into a new artform. Instead of permanent art objects that could be bought and sold, the idea of an ephemeral event becoming the art itself became popular. This challenged the economics of the art market. (We have seen ephemeral art, which was recorded as a photograph, with Andy Goldsworthy.) Women were a big part of Performance Art, and ‘happenings’ as they were called in the U.S. Often women used their own bodies. This was a way of reclaiming the body from its use as a Nude in the Western art tradition. (Those nudes, we now know, were generally passive and regarded as ‘available’ to the viewer who was generally regarded as a white straight male.)
Yoko Ono (Japan, b. 1933) Cut Piece,
Cindy Sherman (U.S. b 1954) is a photographic artist who has used herself as a model for the past 30 years. She generally uses concepts or images from TV, film, photography and historical art and dresses herself up in various roles.
Her work is both Feminist and Postmodern – she challenges ideas about women or roles for women that we see in TV and film. She also questions gender, class and all kinds of assumptions we make about the appearance of people.
Untitled #216, 1989
Untitled #146, 1985
We saw the challenging of previous traditions with the avant-garde in Modernism. The new movement always thought it had the better way to get to an authentic expression. With Postmodernism, there is not that sense of ‘we have the answer’. It is more a case of ‘there ARE no definite answers. No one path is correct.’ There is no one, single truth. Rather, there are many stories; many voices.
Feminist art practices, of which there are many varieties, are an example of this.
Jill Orr (Aust. n.d.) Bleeding trees 1, performance, 1979
Orr’s practice uses the female body (her own) to identify
with the natural environment. Her work is both Feminist and environmental. The idea of women being more connected to the earth, more in tune with it (than men) because of their reproductive cycle was a popular Feminist motif of the 1970s. This era also saw the rise of Goddess practices (where God, or the divine being, is seen as female rather than the more traditional idea of a Father-god.)
Julie Rrap (Aust., b. 1950 ) has been involved with performance art and “body art” from the 1970s onwards. (Her brother, Mike Parr, is also an artist.) Her work involves photography, painting, sculpture, video and installations. She is interested in the psychology behind how we view photographs and video. Her work is often fun but always raises questions. She often appropriates or references historical or earlier artworks.
Camouglage #3, (Elizabeth)
2000, digital photograph,
195 x 122cm
Overstepping, 2001, digital photograph, 120 x 120cm
Film still of Elizabeth Taylor in National Velvet, 1945
Q: Shahzia Sikander was born in 1969 in Lahore, Pakistan. She has achieved international recognition for her artistic practice. In 2007 her artwork Transformation as Narrative was exhibited at the Museum of Contemporary Art, Sydney.
Explain how Shahzia Sikander uses different procedures in the
production and exhibition of her artwork Transformation as Narrative.
“Sikander carries a camera with her
daily, documenting her observations
which are frequently incorporated into
her work in some shape or form…”
– Rachel Kent, Curator.
Plate 1: A selection of Sikander’s
Preliminary drawings; photographs
And reference materials.
Preparation of Sikander’s artwork Transformation
Narrative 2007 at MCA Sydney
Plate 3: Shahzia Sikander working on
Transformation as Narrative, 2007 at MCA
Sydney. Acrylic on wall, wall dimensions
686 x 1164cm.