Discovering What is Popular Culture Through Contemporary Art | Widewalls
The state of contemporary art: from popular culture to mainstream history . the arts' function is no other than facing us with the meanings of life. Pop artists celebrated everyday images and elevated popular culture to the level of to later deconstruction of American imagery the Pop Art movement became. To study religion in popular culture, then, is to explore religion's appearance in the explores popular culture in relation to religion, power, and cultural tensions. David Manning White published Mass Culture: The Popular Arts in America.
Make Them Cry manipulates footage from the game show Hollywood Squares to explore the banal and sometimes bizarre gestures of male and female self-presentation. Meanwhile performance artists such as Lynn Hershman Leeson and Pat Oleszko intervene in everyday life through fictitious characters and alter egos that question and satirize perceptions of the blonde. Sherman also explores the vulnerabilities of blonde beauty in Untitleda staged photograph of an inflatable blonde doll lying prone on a pile of debris.
The final section, Transforming the Blonde, looks at how artists of different racial and cultural backgrounds interpret the image of the blonde. The video Free, White, and 21by the African-American artist Howardena Pindell, shows her conversing with a blonde white woman actually Pindell in makeup and blonde wig about questions of discrimination. The museum dates back tomaking it the oldest art museum west of the Mississippi River. Today it boasts one of the finest university collections in the United States.
Beauty and the Blonde: A public reception will follow from 7 to 10 p.
Discovering What is Popular Culture Through Contemporary Art
Fine art and its institutions continued to function as sources of social identification and differentiation, based on the complex mechanism defined by Bourdieu and Passeron in as the cultural capital. Inside this definition, I seize a nuance attached to the symbolic quality of culture that is able to empower someone or bring down social barriers.
In this view, I consider that the distinction between high and popular culture is dissipated once the social classes disappear or are ignored. This was the case of many socialist societies but not only, where although the traditional hierarchy had changed, people were still in need of cultural benchmarks.
Once art production became less controlled, starting with the Impressionist painters who took their easels out in the plain air, the shift between different perceptions grew even more and more acute. Their work was considered unfinished and bad, meant to please the eye of a non-connoisseur and lacking serious themes such as les grand histoires.
Pop art in the US
The pastel landscapes with their curly sidelines and dissipated colors were in fact the first examples of a new perspective, which transferred the emphasis from expression to impression. Jeff Koons, Centre Pompidou The problems of the new world, which mainly concerned industrialization and liberation from classical canons, were in the center of modernist inspiration.
Because they wanted pure and free art, modernists sought to evade any kind of political affiliation, although they internalized information and judged it progressively. In this view, the modernist works of art posses an intrinsic value, emanating the anguish of someone who has been living during an impossible period of transition.
The outbreak of the First World War constituted the fundamental experience for a whole series of creators, although it suspended the cultural movement for a serious amount of time.
Pop Art - the art of popular culture
The epitome did not cease to occur nonetheless and, in the interwar period, the directions of manifestation of art really caught a new shape. Either in prose, poetry or fine arts, there was some degree of anxiety, depression and doubt in everything. During the s and s, the new wave of audience research was employed within communications and cultural studies to explore the way meaning was negotiated and constructed. Apart from the written language, cultural studies use the concept of text to also designate television programs, films, photographs, and anything else that communicates ideas, values and interests.
In this way, texts of culture studies are comprised of all the meaningful artifacts of culture. The audience analysis emphasized the diversity of responses to a given popular culture artifact through exploration of active choices, uses, and interpretations made of popular cultural texts.
As a qualitative and ethnographic method, this analysis tries to isolate variables like region, race, ethnicity, age, gender and income and observe the ways in which different social groups construct different meanings for the same text. The audience can be active, constantly filtering or resisting content, or passive, complying and vulnerable.
The audience analysis can be traced back to the work done by the British sociologist Stuart Hall and his new proposed model of mass communication. Emphasizing the importance of active interpretation within relevant codes, his model suggested that the same event can be encoded in more than one way, that the message contains more than one possible reading and that the understanding the message can be a problematic process.
The work of Stuart Hall and the ethnographic turn have significantly contributed to our understanding of the processes of interpretation and important relationships between media texts and the production of identity. The First 3D Film Experience, via pinterest. Interpretative and content analysis are two main forms of the textual analysis of popular culture artifacts. Encompassing semiotics, rhetorical analysis, ideological analysis, and psychoanalytical approaches, among many others, interpretative textual analyses aims to go beyond the surface meanings and explore more implicit societal meaning.
On the other hand, content analysis is a more quantitative approach where qualitative data from the text evaluation can be converted into quantitative data that reflects the salient concerns of that particular discourse. It can be very valuable when linked to qualitative kinds of analysis which are usually somewhat subjective observations.
Professor Jeff Lewis argued that textual study is the most complex and difficult heuristic method that requires both powerful interceptive skills and a subtle conception of politics and context.
Later on, textual analysis within the cultural studies framework evolved towards an emphasis on reception studies increasingly. It is a complex process that analyzes the language beyond the sentence, taking into account all levels of the text and context, as well as the wider cultural background.
The critical discourse analysis is able to provide the understanding, skills, and tools by which we can demonstrate the place of language in the construction, constitution, and regulation of the societal world. The critical discourse analysis has been examining formal media such as newspapers and oral, written and visual political discourse, but is also applied to the analysis of popular culture texts. The core case of cultural studies is that language does not mirror an independent object world but constructs and constitutes it.
Our thinking and our telling of experiences are structured by text-mediated discourses. Many discussions of popular culture have been structured by considerations of power, class, and gender.
The assumptions underlying discourses on popular culture, such as assumptions concerning class and culture, the role of women, or authenticity and cultural doctrine, raise issues which should be examined critically in current discussions of popular culture.
- Relationship between avant-garde art and American pop culture
- The state of contemporary art: from popular culture to mainstream history
Roy Lichtenstein — Whaam! From the old pre-Judeo-Christian ideas of binary gender, of two genders determined by sex which, for one reason or another, are in constant opposition and conflict, to the more contemporary definitions that break the concept into an entire spectrum of identities — it has always been something people strongly felt about.
As such, it has also been an ideal vehicle for a multitude of artists to engage in discussions with the audience via their works. Coinciding with, and mostly being a product of the rise of feminismthis has given the movement a powerful outlet for action as well as creativity. A biographical film on Frida Kahlo has made her fascinating body of work known to the masses, while Marina Abramovic became a household name even outside of the art circles after a performance piece inspired by her work appeared on the globally popular TV show Sex and the City.
Depending on the cultural, religious, and moral climate, it was more or less an an allegory in art. For centuries thinly veiled in mythological and allegorical subjects, the depiction of sexual themes became more and more bold, until Toulouse-Lautrec and later Egon Schiele started really taking down the barriers with un-idealized depictions of real-life situations of the more intimate kind.
Fashionwith its idea of the modern, free-thinking flapper, and later science, with the invention of the birth-control pill, both contributed to sex and sexuality being viewed as something to be celebrated, rather than to be ashamed of. Throughout the second half of the 20th centuryin the entertainment world, stars such as Madonna did their share of the work in deconstructing old, patriarchal notions of modesty.
The arts may have been leading the way but it was popular or rather mass culture that really tore down most of the barriers. And while today some more radical creative minds still explore sexuality in a very raw manner, the theme seems to have lost some of its appeal due to its omnipresence in the media.
Both popular culture as well as the more avant-garde sections of the arts mimic this in sync. Of course, homoerotic themes have been around for centuries, albeit under a deep cover of prejudice.
Even though some pieces from the late Victorian era would nowadays be considered gay-themed the canvases of Henry Scott Tuke immediately spring to mindit was only in the late 60s and early 70shand in hand with the abovementioned sexual revolution, that the grip began to loosen and themes dealing with different kinds of love and sexuality could be treated publically. Music icons such as David BowieJanis Joplin, Michael Jackson, Annie Lennox and many more explored androgyny and ambiguous sexuality both in their public personas and their performance.
More recently, in the 21st century, themes dealing with the new ways of looking at and expressing gender along with the increased visibility of transgender individuals are as present in galleries as they are in the tabloid press. David Bowie in his persona of Ziggy Startdust — Bowie was know as an avid art collector The HIV Pandemic and Beyond On a more grim note, the HIV pandemic has been an ill-looking shadow to the otherwise positive and progressive aspects of the sexual revolution.
It created a mass hysteria in the media and spread fear among the general population. Along with thousands of other lives, the disease took such avant-garde performers as Klaus Nomi and Leigh Bowery, as well as one of the biggest rock stars in the world, Freddie Mercury.
It is no wonder then that the outbreak of HIV and its consequences made a shockwave through the art world, inspiring many artists to create new, moving, insightful, often warning images. Whatever we were taught to believe, we now can see that our reality as a whole is a developing one, in a constant state of flux, and that some issues need to be readdressed over and over again — in politics, in the media, and the arts — before they are truly dealt with.
The renewed need to stand up to racial prejudice and explore the causes of it is an obvious example of such unfinished business. Nicholas Nixon — Dr. Robert Sappenfield with his son Bob, Dorchester, Race Vs Culture Race, ethnicity and culture are some of the most crucial concepts not only in the field of sociology, but also in contemporary society.
In its primary meaning, race is a classification of people according to their physical traits and geographic ancestry.
If we think about it carefully, the notion of race plays an important role in everyday human contacts and outcomes of such seemingly routinized interactions. Similarly to race, the term ethnic group is another societal category which cannot be separated from the concept of culture. People who share the same ethnicity share common culture, including language, religion, customs, and history.
To put it clearly, it is not so much the biological differences that define racial groups, but rather how these groups have been treated throughout the history. In other words, how racial groups are defined is an ongoing and ever-changing social process. In it perhaps ingrained in the human nature to criticize and attack those who are different from us and label them with derogatory, unpleasant words.
On the other hand, there are such luminous examples of the 20th century as The Black Arts Movement.
When it comes to culture, cultural wars are the result of conflicting ideas on the moral code, beliefs and values, which makes them one of the omnipresent human issues. In a nutshell, the notion of race was originally based on physical traits while culture on various beliefs and values, but due to globalization, the processes of cultural and racial mixing have achieved complex outcomes.
People of the same race adopted different cultures, while people with the same culture may belong to different races. This phenomenon of blurred lines between race and culture is prominent especially in the United States, the very epicenter of globalization and immigration.
White Americans were given exclusive privileges when it comes to education, voting rights and citizenships, while Native Americans, African-AmericansAsian Americans, and Hispanic and Latino-Americans suffered exclusion and various forms of racial and ethnical discrimination.
Such conditions formally lasted from the 17th century until the s and they are well-documented in various propaganda posters and documentary photographs.