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Vito Acconci, Following Piece, 1969 |
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Chris Burden, Shoot, 1971 |
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Carolee Schneeman, Interior Scroll, 1975 |
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Paul McCarthy, Class Fool, 1976 |
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Sherrie Levine, After Edward Weston,1979 |
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Tehching Hsieh, Hourly Time Clock Piece, 1980-1 |
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Anselm Kiefer, Inner Room, 1981 |
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Louise Lawler, Pollock and Tureen, Arranged by Mr. and Mrs. Burton
Tremaine, Connecticut, 1984 |
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Jeff Wall, The Storyteller, 1986 |
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Carrie Mae Weems, What Did Lincoln Say After a Drinking Bout?, 1986 |
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Yongping Huang, 'A History of Chinese Painting' and 'A Concise History of Modern Painting' Washed in a Washing Machine for Two Minutes, 1987 |
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Faith Ringgold, Bitter Nest Part 1: Love in the School Yard, 1988 |
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David Wojnarowicz, Bad Moon Rising, 1989 |
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Richard Prince, Untitled (Cowboys), 1990 |
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Rirkrit Tiravanija, Pad Thai, 1991-6 |
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Felix Gonzalez-Torres, Untitled (Placebo), 1992 |
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Andreas Gursky, Hong Kong and Shanghai Bank, 1994 |
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Mona Hatoum, Corps Etranger, 1994 |
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Komar & Melamid, Painting by Numbers: America's Most Wanted, 1994 |
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Thomas Hirschhorn, Bataille Monument, 2002 |
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Jeon Joon-ho, The White House, 2006 |
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Lisa Autogena & Joshua Portway, Most Blue Skies, 2006 |
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a work is called pastiche if it is cobbled together in imitation of several original works. employing a generally light-hearted tongue-in-cheek imitation of another's style; although jocular, it is usually respectful.
Many of "Weird Al" Yankovic's songs are pastiches |
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'relational aesthetics' was coined in 1996 by French theorist and curator Nicolas Bourriaud to characterize artistic practice in the 1990s. In his book of the same title, Bourriaud aims to identify and characterise what is distinctive in contemporary European art in the 1990s, as compared to that of previous decades.
Bourriaud wishes to approach art in a way that ceases ‘to take shelter behind Sixties art history’ [2], and instead seeks to offer different criteria by which to analyse the often opaque and open-ended works of art of the 1990s. To achieve this, Bourriaud imports the language of the 1990s internet boom, using terminology such as ‘user-friendliness’, ‘interactivity’ and ‘do-it-yourself’. Indeed, in Postproduction (2000), Bourriaud describes Relational Aesthetics as a book addressing works that take as their point of departure the changing mental space opened by the internet (p8). |
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Primitivism is the pursuit of ways of life running counter to the development of technology, its alienating antecedents, and the ensemble of changes wrought by both.
Technology is here defined as tool use based upon division of labor...that is, tool manufacture and utilization that has become sufficiently complex to require specialization, implying both a separation and eventual stratification among individuals in the community, along with the rise of toil in the form of specialized, repetitive tasks.
The antecedents to technological development have been variously conjectured, but the answer to the question remains open. The best known writings along these lines are those of John Zerzan that question symbolic culture and its manifestation in number, language, religion, and ritual. Poorly understood in the anarchist milieu in which they first appeared, these types of explorations are especially important for their deductive value in developing new insights and evolving solutions.
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In philosophy, essentialism is the view that, for any specific kind of entity, there is a set of characteristics or properties all of which any entity of that kind must have. This view is contrasted with non-essentialism which states that for any given kind of entity there are no specific traits which entities of that kind must have.
essentialism has been the predominate methodology in philosophy of art, beginning with Plato's definition that "art is imitation." This methodology has been largely popular until the mid-twentieth century with the introduction of anti-essentialism, a movement popularized by Morris Weitz, W.E. Kennick and Paul Ziff. |
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The culture war (or culture wars) in American usage is a metaphor used to claim that political conflict is based on sets of conflicting cultural values.
The phrase "culture war" may have been influenced by the German Kulturkampf ("cultural struggle" or "struggle between cultures"; literally, "battle of cultures"), the campaign from 1871 to 1878 under Chancellor Otto von Bismarck of the German Empire against the influence of the Roman Catholic Church.
1990s
The expression was introduced again by the 1991 publication of Culture Wars: The Struggle to Define America by James Davison Hunter, a sociologist at the University of Virginia. In it, Hunter described what he saw as a dramatic realignment and polarization that had transformed American politics and culture. |
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Third-wave feminism seeks to challenge or avoid what it deems the second wave's "essentialist" definitions of femininity, which often assumed a universal female identity and over-emphasized experiences of upper middle class white women. A post-structuralist interpretation of gender and sexuality is central to third wave ideology.
Emphasizing discursive power and the ambiguity of gender, third-wave theory usually incorporates elements of queer theory, transgender politics and a rejection of the gender binary, anti-racism and women-of-color consciousness, womanism, post-colonial theory, critical theory, postmodernism, transnationalism, ecofeminism, libertarian feminism, and new feminist theory.
Also considered part of the third wave is sex-positivity, a celebration of sexuality as a positive aspect of life, with broader definitions of what sex means and what oppression and empowerment may mean in the context of sex. For example, many third-wave feminists have reconsidered oppositions to pornography and sex work of the second wave and challenge existing beliefs that participants in pornography and sex work cannot be empowered.
Third-wave feminists often focus on "micro-politics" and challenge the second wave's paradigm as to what is, or is not, good for women. |
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