We are post-human. Do you agree?
1. We are post-human. Do you agree? Please answer in 10 sentences or use an image. 2. Assessment: When the Mughal court could no longer afford to retain him, who were Ghulam Ali Khan’s patrons and what other subjects did he paint? (3 sentences) The Mughal court no longer had sufficient funds to retain Ghulam Ali Khan exclusively, and to survive the painter had to moonlight as an architectural and portrait painter to several other members of Delhi’s high society made up of European officers, influential chieftains, and other regional rulers. These included the Nawab of Jhajjar, who Ghulam Ali Khan painted astride his pet tiger. The painter also worked for several British patrons, including the Rajput-Scottish mercenary James Skinner and for British Residents at the Mughal court including William Fraser, who became the painter’s principal patron by the 1830’s. As Fraser’s purchasing power gradually eclipsed that of the Emperor, Ghulam Ali Khan and his family worked on the Fraser Album, the supreme masterpiece of the period. –Princes and Painters in Mughal Delhi, 1707-1857 3. Discussion: Quotation, Comment, Question ● ● ● Quotation: Choose 1 excerpt of no more than 3 sentences. Consider something that you agree or disagree with, or even is confusing or beautifully written. Type up the quotation to begin your response. Comment: Write around 5-10 sentences commenting on your excerpt. You can paraphrase, reflect, or draw a more personal, historical or other connection. What is being argued about David’s painting? Question: Conclude with 1-2 questions you still have. 4. Please watch the first 10 minutes. What do trees represent in the art of Edgar Heap of Birds? (3 sentences) [https://youtu.be/pfW1Q1cAVeQ] 5. Assessment: According to Benjamin, what do technologies of reproduction, like photography, change about how we exist in the world? (3 sentences) Walter Benjamin, “The Work of Art in Its Age of Technical Reproducibility,” 1939 One might encompass the eliminated element within the concept of the aura, and go on to say: what withers in the age of the technological reproducibility of the work of art is the latter’s aura. The process is symptomatic; its significance extends far beyond the realm of art. It might be stated as a general formula that the technology of reproduction detaches the reproduced object from the sphere of tradition. By replicating the work many times over, it substitutes a mass existence for a unique existence. And in permitting the reproduction to reach the recipient in his or her own situation, it actualizes that which is reproduced. These two processes lead to a massive upheaval in the domain of objects handed down from the past-a shattering of tradition which is the reverse side of the present crisis and renewal of humanity. 6. Please watch this video to answer the question. [https://www.youtube.com/watch?v=bihBbqzL96Y] Assessment: True or False. Manet’s painting Olympia depicted a Parisian courtesan. True or False 7. Please make your own still life (of 2-3 objects) that reflects on your daily life and, perhaps, represents your identity. Your may either photograph, draw or make a digital collage. Please write 5-10 sentences expanding on the meaning of your still life and how it represents yourself at this moment in time. 8. Assessment: What does Lorraine O’Grady argue about self-expression? (3 sentences) Critiquing them does not show who you are: it cannot turn you from an object into a subject of history. The idea bears repeating: self-expression is not a stage that can be bypassed. It is a discrete moment that must precede or occur simultaneously with the deconstructive act. –O’Grady 9. Roger Fry, Cezanne: A Study, 1960 It is natural enough that painters should tend to regard particular parts of a design as more important and expressive than others; should be more intrigued say by a face than by a blank wall behind it, and should therefore give to some parts of their pictures fullness and complexity, whilst they indicate others in a perfunctory fashion. Cézanne’s work shows how completely he controlled this inclination. For him, though there might be nodal points in the sequence, every part, however apparently insignificant, had to contribute its precise and irreplaceable quotom to the whole. True/ False Fry argues that in Cezanne’s compositions there is no one aspect that is more important than another. In other words, the face of Cezanne’s wife is as important as the wall behind her. Each brushstroke is part of creating a whole. True or False 10. Assessment: How did the network of abstract art spread throughout modern life? (3 sentences) Leah Dickerman, Inventing Abstraction Abstractions network was fostered in the years immediately before World War I by a new modern culture of connectivity. In trains, automobiles, and steamships, people were traveling internationally in numbers far greater than ever before. National boundaries became porous as people crossed them with new ease — and until the outbreak of World War I, most European countries have minimal passport requirements. Telegraphs, telephones, and radio relayed news of events quickly across the globe. The sinking of the Titanic in 1912, thanks to wireless telegraphy, was not only followed achingly by those on ships just out of reach of the ocean liner but was also one of the first news stories to be reported virtually simultaneously with the event. The same communication technologies allowed for the synchronization of times and clocks across distance, which facilitated the establishment of coordinated international markets and set the stage for the vertiginous growth of a modern speculative economy and commodity culture. 11. Why are images treacherous in Magritte’s “The Treachery of Images”? (3 sentences) Rene Magritte The Treachery of Images, 1928-9 “The famous pipe. How people reproached me for it! And yet, could you stuff my pipe? No, it’s just a representation, is it not? So if I had written on my picture ‘This is a pipe’, I’d have been lying!” The first presidents of this period encouraged and financed an educational and cultural programme, a strategy of propaganda directed at the urban and rural masses who were anxious to see how the new regime would serve their needs. In this context, the so-called Mexican mural movements started. Large surfaces of public walls were put to work bearing images of cultural and social progress. –Leonard Folgarait, “Revolution as Ritual: Diego Rivera’s National Palace Mural” 12. Assessment: Why did the first presidents of Mexico encourage the Mexican mural movement? 13. Pop Art is: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten), Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big business –Richard Hamilton Assessment: Please name 3 characteristics of your own that describe Pop Art based on Hamilton’s collage, “Just what is it…”.
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