Seeing to present art history to a variety of learners, Art History Unstuffed presents the Soundbytes in Modern Art podcast. These episodes are available as single units or can be found as a virtual book on iBooks, free of charge under the title Art History Unstuffed: The Podcasts.
This twenty-seven episode series of five minute videos span Western art history, from the Caves to Romanticism. Produced for and with the assistance of Otis College of Art and Design, these can be used by students and teachers as introductory, supplementary or review material. Each video is written,narrated and produced by Dr. Jeanne S. M. Willette, reinforced with written text and richly illustrated with many images.
“ Art is not what you see, but what you make others see”
The Construction of a Discourse, 1910-1914
The Writing of Cubism posits that when the art critical writings on Cubism are re-read within their original intellectual and political context, it becomes clear that the historical coincidence of the conception of Cubism on the eve of the Great War had an impact upon the verbal configuration of this new movement that was equal to, if not outweighing, the stylistic innovations and artistic experiments of the artists.
Creating a Culture of Cyber Criticism
This book examines the possibilities of theorizing the Web, takes up current debates on digital discourse, and presents the work of the leading scholars of the Internet working in the current field of content production in Cyberspace.
Volume One: Blindness (Volume 1)
After Postmodernism, it is now time to return to an abandoned territory in search of our own blindness. What did we not see during the age of theorizing, to what were we blind? In three substantial case studies this volume, the first of three books on Postmodernism, the author closely examines some of the remains of a lost era.
With an international audience, this website and its accompanying podcasts provide the 21st version of learning about art, history, philosophy, and theory.
Seeing to present art history to a variety of learners, Art History Unstuffed presents the Soundbytes in Modern Art podcast. These episodes are available as single units or can be found as a virtual book on iBooks, free of charge under the title: Art History Unstuffed: The Podcasts. Each episode discusses a single topic at greater length than the written posts, which are about 2500 words each. Each podcast ranges from 15 to 20 minutes and is part of a series that treats an artist or a topic over an hour of listening. The episodes are, therefore, discussions at a higher level and are geared more to graduate students and to colleagues than to the beginning student.
Advanced Guard before the Avant-Garde
There is some historical disagreement over when and where the avant-garde movement in the visual arts began. But it is clear that that the notion that changes in art come from the margins not the center came into existence and began to impact painting by the middle of the nineteenth century. What were the aesthetic and cultural conditions that made the avant-garde possible?
WHISTLER AND ART FOR ART’S SAKE
Whistler was unusual among artists of his time in that he answered back to critics and took pains to establish his own discourse on his own art. His unique way of painting, without the meticulous detail of the Pre-Raphaelite Brotherhood, seemed immoral and insulting to the art critic John Ruskin who made accusatory statements about Whistler. Fiercely independent and willing to lose a patron for the sake of his artistic vision, the artist sued when the aging British critic. Although the jury agreed with Whistler on the point of artistic freedom, it gave him only a farthing as a payment. But the publicity shone light on the quarrel over the rights of the avant-garde artists and what the public wanted to enjoy. The resulting trial established a new definition for Modernist art, with Whistler following up with his now-famous “Ten O’Clock Lecture.”
WHISTLER AND THE PEACOCK ROOM
The term “artistic freedom” may seem like a given but for nearly a century after Kant established the principal, “freedom” was rarely practiced. But Whistler took the concept seriously and set out to test it, clashing with the critics, the public, and, most famously with his patron, Frederick Leyland. The Peacock Room was an exercise in art-for-art’s sake and an illustration of the primacy of the will of the artist, who risked all – his reputation, his income, his client – in order to take over an architect’s commission and impose his vision of a total work of art.
Show off your smarts. Art history unstuffed merchandise makes great gifts for you and your colleagues.
“Painting is self-discovery. Every good artist paints what he is.”
— Jackson Pollock