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.
ROMANTICISM AND NATIONALISM
Romanticism was a form of modern consciousness that was expressed as art style, as an attitude of individualism, as a political stance, and as a new way of being an artist. In the nineteenth century, modern nations were beginning to take form and Romanticism became a way of fashioning a unique identity. Manifested in music, poetry and the visual arts, Romanticism varied depending upon the location. Defining Romanticism, therefore, is a complicated affair.
This podcasts seeks of outline the basic elements of Romanticism—a new emphasis on subjectivity and the individual and a resounding rejection of the rules of ancient art. Romantic art is both escapist and exotic and is concerned with events in the contemporary world. Romantic art was a court art for tyrants and a rallying cry for democratic uprisings. Finally, Romanticism served the aspirations for a new class of middle class artists, mostly men, who sought to express themselves through art.
Although Romanticism was supposedly subjective, or based in the individual sensibility of the artist, this movement was an international movement with characteristics unique to each nations. The Romantic Movement is discussed in comparative terms, assessing the differences among the movements in France, England, America and Germany.
AESTHETICS AND TRE RISE OF ROMANTICISM
Emerging in the mid-eighteenth century, Aesthetics is a branch of philosophy which seeks to define “art.” The formulation of aesthetics as a separate aspect of Enlightenment thinking was a project of British and German writers on the arts. One of the new concepts developed by these thinkers was the modern idea of “disinterest,” which meant that art was to be contemplated for itself on its own merits, not for its content or subject matter. With the lessening importance of the patrons, this new mode of looking put the artist and his or her at the center of the art making process.
Now on display in public salons, the artist had to have a recognizable style and a new identity for the modern artist began to take shape. By the end of the eighteenth century, Emmanuel Kant consolidated “aesthetics” into a coherent and influential book, the Critique of Judgment, which would impact the intellectual world of the Romantic artists. Due to this important discourse in aesthetics, the artist was remade into a “genius,” who was independent of the public and who made art for art’s sake.
THE AESTHETICS OF ROMANTICISM
With the decline of religious commissions and with the end of aristocratic patronage, the modern artist was left dependent upon the State and the new art public. In the past, it had been sufficient to define “art” as that which had been approved by a higher power, but in the nineteenth century, a new definition of art was required. Aesthetics, which provides the epistemology of art, or the ground of “art,” was a new aspect of philosophy that emerged coincidentally with the historical break in the old definition of art. This podcast will examine the social and cultural foundations of Aesthetics and the philosophical development of the definition of “modern 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