David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

26 March 2016

Contemporary Art : Looking Closely

The Fosterville Institute of Applied & Progressive Cultural Experience (FIAPCE) presents : 

A Lesson from the Sotheby's Institute of Art :
                             Malevich + text = SIA        

Theatre of the Actors of Regard  
 A Person Looks At A Work Of Art/
 someone looks at something...




In the past 30 years contemporary art has grown to be one of the most exciting and crowded fields in the international art world. This course, intended for those already familiar with contemporary art, will begin by defining and exploring the foundations of contemporary artistic practice. Through lectures and online discussion, the course will consider the nature of the medium in contemporary art, the relationships between historical practices and current art-making, as well as performance art, sculpture, contemporary pop, and globalization. In addition to exploring these concepts students will dig more deeply into some of contemporary art’s leading lights - Jeff Koons and Cindy Sherman, Takashi Murakami and Damien Hirst – as well as some artists that are emerging onto the scene. Students will also actively participate in reading and analyzing texts together, including articles by leading, critical thinkers in contemporary art such as Hal Foster and Douglas Crimp.

This is an opportunity for students, artists, art professionals and collectors to look more closely at how we have come to explain the nature of the contemporary.

By the end of this course:

   *  Students will be able to identify the most significant styles and themes of Contemporary Art.
   *  Students will be familiar with the work of the most important and critically acclaimed artists of the period.
   *  Students will be able to discuss works of art using the key critical ideas of the period.

FIAPCE  -1990-  
  A Person Looks At A Work Of Art/
  someone looks at something...