Contextualizing Art Today

1: Adornment (Make reality better for people)

1: Representational (To appreciate god)
2: Representational by artists (For elite to appreciate reality)

2: Artist (about artists-expressionism)
2: Material (about materials- abstract art, minimalism, conceptual)

2.5: pop (art about the day's culture artists, people, and material)

3: deconstructed reality (times, cultures, materials-any art movement can be here)

3.5: manufactured reality (relational art, maximalism, installation, performance, land art, graffiti)

1: protomodern (maybe science aesthetic, generative, relational aesthetics, and other)

0: reality

1:protomodern

2: modern

3:postmodern

(cyclical, unless apocalypse or mass rejection of inventions occurs we will never return to reality stage)

Protomodern ends in a new reality built out of the lessons learned from deconstructing the last modernist attempt at truth. This protomodern cycle could end in an art of living; a beautiful lifestyle and living space, and then the cycle repeats toward removing art into this pure field, the white gallery space again. I am not sure if we can ever go back to that fully, I think art will remain in a constant state protomodern leaning toward postmodern or modern.

Notes:
-What is maximalism? does it go somewhere on this?
-many of the movements sited also fall into other of the categories but were more easily expressed in one.

-(Tree by mark dion- Real as hell, but out of nature = protomodern)

we are moving back towards representing reality with new technologies and

Define Art

So far Ben Davis has provided me the best definition of art I have ever heard:

"a privileged class of aesthetic objects and instances set apart from ordinary communicative acts, authored by a special person called an artist."
http://www.artnet.com/magazineus/reviews/davis/art-and-social-media8-4-10.asp

I would add that art cannot be mass produced or it becomes another object that was designed.

Important to note:

Fashion, design, craft, music, architecture, food, theater are all incorporating or moving into art.

Also: the difference between good art and bad art is much more complex.

Define A Gallery

Each piece of art demands a specific placement.

Like the types of art that Irwin Defines, there are gallery spaces that or more or less willing to change around the art shown. Therefore someone who makes a certain type of art must find a gallery that is compatible.

Dealing with a piece of Banky's graffiti is a different matter than Marlene Dumas' paintings. contractual agreements on proper display will be a requisite. 50" at center, or illegally on public building near tourist site. Both or legitimate requirements for two legitimate art pieces.

http://contemporaryartruck.blogspot.com/2010/09/what-is-gallery.html

I hope that scientists begin collaborating with artists to represent what they are beginning to understand
- ha. amazing job would be to be a business that assists scientists in representation

What is good art?

Good art is self aware. This means that the works' being is true to its concept, construction, history, and it's maker. The work must be deliberate in these sections or it fails. That is to say that the construction can be poor if it follows with the concept. The piece can be void of history if the construction fulfills the concept.

olafur eliasson- video

objects that are honestly in the world

rough quote "make a piece of art-want it to be sincerely, honestly, responsibly, in the world. to have an impact" to what extent can we affect our world, should we participate? does our opinion matter? language art speaks doesnt take the world for granted-the world is a model, that can be manipulated. reality can change. if existence is a construction it can be renegotiated.

janine antoni -art21 season 1-2 episode 6. objects whose creations are honest and apparent

Classifying Types of Art

Being and Circumstance -- Notes Toward a Confidential Art, by Robert Irwin, 1985.

1) Site dominant. This work embodies the classic tenets of permanence, transcendent and historical content, meaning, purpose; the art-object either rises out of, or is the occasion for, it's 'ordinary' circumstances -- monuments, historical figures, murals, etc...
2) Site adjusted. Such work compensates for the modern development of the levels of meaning-content having been reduced to terrestrial dimensions (even abstraction)...
3) Site specific. Here the 'sculpture' is conceived with the site in mind; the site sets the parameters and is, in part, the reason for the sculpture...
4) Site conditioned/determined. Here the sculptural response draws all of its cues (reasons for being) from its surroundings. This requires the process to begin with an intimate, hands on reading of the site.

Site dominant art is the most traditional way of thinking about sculpture; where the sculptor makes an object which can be placed anywhere to be viewed. One may define Robert Indiana’s Love sculpture on the IMA’s grounds as a site dominate piece.

Site adjusted piece of art is changed after conception to better fit the space in which it is to be shown. An example of this would be Sol Lewitt’s Wall Drawing No. 652, or the plastic cup and tar paper installations by Tara Donovan. The artists adjusted dimensions of the work to better fit the space.

Site specific sculpture is one that is produced by the artist reacting and working in connection with the physical demands and the conceptual context of the space provided. A good example of this would be Maya Lin’s Above and Below, which was inspired by the Indiana geological landscape and the specific space the IMA provided.

Site conditional art replaces artistic agency by directly growing an installation from the requirements of the site itself, blurring the line between the architecture, design, and art of a space. The idea of growing an installation out of the space instead of showing a work in a space deeply intrigues me. The subtle manner in which this type of installation is experienced rather than directly looked at questions all the traditional paradigms of art and art documentation. How do you properly represent an installation that demands you walk through and around it on paper? Another site determined installation at the IMA’s Art and Nature Park; Stratum Pier by Kendall Buster, requires