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.
Whistler, Manet and The White Girl
One of the most overlooked avant-garde pioneers was the American in Paris (and London), the expatriate, James Whistler. Whistler was one of the first international artists, who showed in London and Parisian Salons. Although overshadowed in art history by his good friend, Édouard Manet, Whistler was the other scandal in the Salon des Refusés of 1863 with the controversial painting known as The White Girl. and instituted installation techniques later adopted by the Impressionists. Always controversial, Whistler’s art, like that of Manet, established Modernist tenets with his groundbreaking paintings.
The painter of Parisian modernité, Édouard Manet, abandoned his early strategy of commenting on past masterpieces but continued his quest to update and modernize traditional genres in Salon painting. A transitional painter, Manet pointed to way to the final break from Academic art with his work during the last two decades of his life. One of the main themes of Manet’s work is the traffic in sex, a theme that exposed the hypocrisy of the Second Empire in which women bore the burden of male sins and sexual exploits. Manet’s point of view is that of the privileged male of the upper classes, the kind of man who frequents brothels and other sites of pleasure. Although much of the art historical writing on Manet has focused on his formal innovations, but this podcast stresses the scandalous and revelatory content of his art, which defines “modernité” in terms of male experience.
ÉDOUARD MANET AND THE SALON
Like the career of Gustave Courbet, the career of Édouard Manet breaks into two segments. As with all aspiring artists, Manet had to make his mark, and he chose to call attention to himself through a series of paintings that combined homage with allegory. His works of the 1860s referred to revered art of the past but he updated the themes and applied old subject matter to new modern contexts.
It is with Édouard Manet that the concept of Modernism as a new form of urban culture is manifested in painting. A comparison between Manet and his predecessor (and contemporary Gustave Courbet) shows the shift in Naturalism from rural themes to urban life where a new kind of modernism was coming into being. Manet’s art was both public, life on the boulevards, and private, his friends and family and the woman he probably loved, the artist Berthe Morisot. This podcast traces Manet’s ironic and satiric play with art historical predecessors in his efforts to both succeed in the Salons and to capture the fleeting world of modernité.
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“Painting is self-discovery. Every good artist paints what he is.”
— Jackson Pollock