Comments on: Introducing Flash Points: Controversy & Contemporary Art http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/ The Official Blog of Art21, Inc. and the Art in the Twenty-First Century PBS series Fri, 19 Mar 2010 20:06:39 -0700 http://wordpress.org/?v=2.9.2 hourly 1 By: Digital Art Magazine http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-15396 Digital Art Magazine Tue, 24 Nov 2009 23:38:16 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-15396 <strong>Digital Art Magazine...</strong> New contemporary art magazine... Digital Art Magazine…

New contemporary art magazine…

]]> By: John Thornton http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-10202 John Thornton Sat, 17 Jan 2009 04:20:56 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-10202 Kelly, I just recently saw the student whom I mentioned in my earlier comment and e-mailed her the link to this website. Hopefully she will check it out and maybe even comment. She is a wondeful person. John Thornton Kelly,
I just recently saw the student whom I mentioned in my earlier comment and e-mailed her the link to this website. Hopefully she will check it out and maybe even comment.
She is a wondeful person.
John Thornton

]]> By: Jason D. http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-9581 Jason D. Sat, 13 Dec 2008 23:26:48 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-9581 I can appreciate John T.'s trepidation with his experiment. I'm and Art Educator of grades 5 & 6 at an Intermediate school and I generally try to expose them to different types artists and the types of works that they concentrate on. Unlike several Art Educators, especially at that age level who are continuously getting the kids to produce "cookie-cutter" works where the outcome is so calculated, I try to provoke more thought within their work. For example, when I'm introducing self portraits to the students I show them images from Cindy Sherman or Tim Hawkinson's "mechanical self portrait". Last year I worked with a small group of students and our focus was on "Picture Writing" and we talked a great deal about Kara Walker's work. Now of course I was careful with my image selection, but didn't necessarily sugar coat the intention of her work. I would have to say that the most shocking work, not to be confused with offended, was the "Cremaster" series by Matthew Barney. It was shocking in the sense of an instilled fear that my worst dreams had become a reality. When we dream obviously we tend to remember bits and pieces and when we wake up we trace back to those images. Barney's work just surrounds you when viewing it in a venue. We do have the luxury of leaving, but curiosity tends to hold me in place. I can appreciate John T.’s trepidation with his experiment. I’m and Art Educator of grades 5 & 6 at an Intermediate school and I generally try to expose them to different types artists and the types of works that they concentrate on. Unlike several Art Educators, especially at that age level who are continuously getting the kids to produce “cookie-cutter” works where the outcome is so calculated, I try to provoke more thought within their work. For example, when I’m introducing self portraits to the students I show them images from Cindy Sherman or Tim Hawkinson’s “mechanical self portrait”. Last year I worked with a small group of students and our focus was on “Picture Writing” and we talked a great deal about Kara Walker’s work. Now of course I was careful with my image selection, but didn’t necessarily sugar coat the intention of her work.
I would have to say that the most shocking work, not to be confused with offended, was the “Cremaster” series by Matthew Barney. It was shocking in the sense of an instilled fear that my worst dreams had become a reality. When we dream obviously we tend to remember bits and pieces and when we wake up we trace back to those images. Barney’s work just surrounds you when viewing it in a venue. We do have the luxury of leaving, but curiosity tends to hold me in place.

]]> By: Art in the unshockable world | The Center for Sustainable Practice in the Arts http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-9570 Art in the unshockable world | The Center for Sustainable Practice in the Arts Sat, 13 Dec 2008 06:38:55 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-9570 [...] art’s current spirit of soul searching for a sense of engagement Art 21|blog attempts to ignite the debate: Have you ever been shocked by a work of art and if so, why? What’s [...] [...] art’s current spirit of soul searching for a sense of engagement Art 21|blog attempts to ignite the debate: Have you ever been shocked by a work of art and if so, why? What’s [...]

]]> By: Sweet Jesus! Shock, awe, and the mundane | Art21 Blog http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-9539 Sweet Jesus! Shock, awe, and the mundane | Art21 Blog Thu, 11 Dec 2008 20:41:15 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-9539 [...] of Flash Points, contemporary art that engages religion is a hotbed for controversy. James Horn remarks, “I have seen pictures which have featured gratuitously abused religious imagery, which I am [...] [...] of Flash Points, contemporary art that engages religion is a hotbed for controversy. James Horn remarks, “I have seen pictures which have featured gratuitously abused religious imagery, which I am [...]

]]> By: Kelly Shindler http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-9472 Kelly Shindler Thu, 04 Dec 2008 23:52:39 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-9472 All good points, James, and I definitely feel, at least for me, that my reaction to a work can evolve over time. I may simply be shocked, or even irritated at first, but sometimes the work nags at me until I realize there’s a lot more that’s going on than at first glance. A good thing, for sure. Kara Walker is an obvious example of course. Seeing her show at the Whitney was horrifying, stimulating, and just really really intense. For mostly flat work, it hit me in 3-D. It’s true, though, that if art is simply shocking for shock’s sake, rather than art’s, then it’s easier to pass it off as trivial. But there’s also something to be said for visceral reactions. In his Art:21 segment, Richard Tuttle speaks at length about art’s ability to move the viewer. Can a visceral response to work (think Olafur Eliasson) be moving too? Are there any works or artists on your mind that have first shocked, but ultimately moved you? Also, can appropriated religious imagery ever be shocking in a meaningful away? Again, it’d be great to know of some examples here… All good points, James, and I definitely feel, at least for me, that my reaction to a work can evolve over time. I may simply be shocked, or even irritated at first, but sometimes the work nags at me until I realize there’s a lot more that’s going on than at first glance. A good thing, for sure. Kara Walker is an obvious example of course. Seeing her show at the Whitney was horrifying, stimulating, and just really really intense. For mostly flat work, it hit me in 3-D.

It’s true, though, that if art is simply shocking for shock’s sake, rather than art’s, then it’s easier to pass it off as trivial. But there’s also something to be said for visceral reactions. In his Art:21 segment, Richard Tuttle speaks at length about art’s ability to move the viewer. Can a visceral response to work (think Olafur Eliasson) be moving too?

Are there any works or artists on your mind that have first shocked, but ultimately moved you? Also, can appropriated religious imagery ever be shocking in a meaningful away? Again, it’d be great to know of some examples here…

]]> By: Kelly Shindler http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-9470 Kelly Shindler Thu, 04 Dec 2008 23:42:30 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-9470 John, so what were the reactions to your film and Walker's image you showed outside of class? Any feedback from your school's administration, parents, etc.? Any follow up interest or concern from your students? Are you still teaching with Walker's artwork? Have you showed our Art:21 film? I have so many questions! Would be great to hear more about this. Maybe even have your students weigh in here if they're interested! John, so what were the reactions to your film and Walker’s image you showed outside of class? Any feedback from your school’s administration, parents, etc.? Any follow up interest or concern from your students? Are you still teaching with Walker’s artwork? Have you showed our Art:21 film?

I have so many questions! Would be great to hear more about this. Maybe even have your students weigh in here if they’re interested!

]]> By: Kelly Shindler http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-9469 Kelly Shindler Thu, 04 Dec 2008 23:40:02 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-9469 Thanks for sharing. What was the response to this decision to censor the show - from the artist? From the public? Do you agree with what happened or not, and why? This situation also reminds me of Chris Ofili's <a href="http://arts.guardian.co.uk/pictures/image/0,8543,-11504640117,00.html" rel="nofollow"><em>Virgin Mary</em></a> painting. Google this and you'll find any number of other stories about it. More to come on the <em>Sensation</em> exhibition in a few weeks. Thanks for sharing. What was the response to this decision to censor the show – from the artist? From the public? Do you agree with what happened or not, and why?

This situation also reminds me of Chris Ofili’s Virgin Mary painting. Google this and you’ll find any number of other stories about it. More to come on the Sensation exhibition in a few weeks.

]]> By: Self-consciousness around controversial issues | Art21 Blog http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-9462 Self-consciousness around controversial issues | Art21 Blog Thu, 04 Dec 2008 20:00:35 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-9462 [...] our own comfort levels or worse—someone else’s.  As John T. says in his comment on the Flash Points introductory post… Another issue was my incredible and obvious sense of trepidation, on so many levels. Scared [...] [...] our own comfort levels or worse—someone else’s.  As John T. says in his comment on the Flash Points introductory post… Another issue was my incredible and obvious sense of trepidation, on so many levels. Scared [...]

]]> By: James Horn http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/comment-page-1/#comment-9457 James Horn Thu, 04 Dec 2008 08:30:16 +0000 http://blog.art21.org/2008/12/01/introducing-flash-points-controversy-contemporary-art/#comment-9457 Interesting video - Thanks John T. I think the key thing with shocking art is whether or not it challenges the viewer in a meaningful way. If it's an image of extreme violence, sexual acts or race, does it provoke thought (as I believe this work does) or is it merely there for shock value? I think the most shocking work I've ever experienced could well be the play "Blasted" by Sarah Kane - it featured some pretty gross things and led me to consider the base animal instincts of man and what it means to be human. At the other end of the scale, I have seen pictures which have featured gratuitously abused religious imagery which I am sure have been created purely for shock value (I do appreciate though that this is purely subjective...) I guess the question I always ask of a shocking work is - does this make me question or think about an aspect of life or the world, or is my response purely visceral? Interesting video – Thanks John T.

I think the key thing with shocking art is whether or not it challenges the viewer in a meaningful way. If it’s an image of extreme violence, sexual acts or race, does it provoke thought (as I believe this work does) or is it merely there for shock value?

I think the most shocking work I’ve ever experienced could well be the play “Blasted” by Sarah Kane – it featured some pretty gross things and led me to consider the base animal instincts of man and what it means to be human.

At the other end of the scale, I have seen pictures which have featured gratuitously abused religious imagery which I am sure have been created purely for shock value (I do appreciate though that this is purely subjective…)

I guess the question I always ask of a shocking work is – does this make me question or think about an aspect of life or the world, or is my response purely visceral?

]]>