Barbara Kruger

Published by Penn State University Press in 2024. Available through:

PSU Press: https://www.psupress.org/books/titles/978-0-271-09894-4.html

Amazon: https://www.amazon.com/Love-Degradation-Excessive-Queer-Feminist-criticisms/dp/0271098945

And local bookstores.

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In this provocative and intensely personal new book of essays about love and language, desire and drama, reminiscence, change, and fandom, William J. Simmons takes up Eve Sedgwick’s reparative reading as a challenge to empirical and taxonomical approaches to art, music, and film and instead promotes new ways of discussing them that create community and empathy rather than hierarchies. Specifically, Simmons advocates for incorporating memoir, history, theory, poetry, and even “the cringey admissions of a fanboy” into criticism.

Love and Degradation argues for queer feminism’s value to reading and thinking about works by creators as varied as Lana Del Rey, Charlotte Brontë, Felix Gonzalez-Torres, Phoebe Waller-Bridge, and filmmaker Steve McQueen. It also includes essays on Glenn Ligon, Barbara Kruger, and Kristen Stewart. In essence, the essays in this volume represent a series of the author’s “saviors, obsessions, and losses.”

A compelling read for students and scholars of art history, queer and gender studies, creative writing, and the study of film, television, and pop culture, this book encourages readers to embrace fandom and raises important questions about the state of queer and feminist discourse.

What are the Sixties all about? Liberation, repression, appropriation? Under Anglo-American influence, this decade was characterized by an unprecedented demographic and economic boom, the emergence of the consumer society and the beginning of the conquest of space. Marked by ideological conflicts, the Cold War and the wars of decolonization, the violent apogee of the civil rights movement and sexual liberation, the Swingeing Sixties - repressive years as titled by Richard Hamilton, who plays on the words "swinging" and "swingeing" - were also a field of tensions opposing conservatism and democratization, dominant culture and alternative counter-cultures, mercantilist conformism and dreams of escape. Through a hundred works, some of which have never before been shown by the Pinault Collection, the exhibition "Forever Sixties" (curated by Emma Lavigne & Tristan Bera) sheds light on a decisive moment in the history of contemporary art, the visual revolution of the 1960s, and its legacy in the creation of subsequent decades.

The first following text is an extract from the exhibition catalog focusing on the enduring visual and theoretical legacy of the 1960s and the notion of "appropriation" through the works of Sturtevant, John Baldessari, Ed Ruscha, Barbara Kruger and Richard Prince. It is followed by a chronology of the "Pop Age" (1956-1986) as defined by author Michael Bracewell and a conversation with artist Étienne Daho about pop music.

A catalogue published by Pinault Collection x Dilecta on the occasion of the exhibition running from June 10 to September 10, 2023 at the Couvent des Jacobins in Rennes.
ISBN: 978-2-37372-173-7

Konsumerisme telah menjadi fenomena global yang memengaruhi berbagai aspek kehidupan manusia, termasuk dalam dunia seni. Karya seni 'I Shop, Therefore I am' oleh seniman kontemporer Barbara Kruger merupakan salah satu karya yang mengeksplorasi hubungan antara konsumerisme dan pembentukan identitas individu. Penelitian ini bertujuan untuk menganalisis pengaruh konsumerisme terhadap identitas individu yang direpresentasikan dalam karya seni tersebut.
Penelitian ini menjadi penting karena konsumerisme telah menjadi budaya dominan dalam masyarakat modern, yang membawa konsekuensi tidak hanya pada aspek ekonomi dan lingkungan, tetapi juga pada pembentukan identitas individu. Seni, sebagai media representasi dan kritik sosial, memiliki potensi untuk mengungkap dan mempertanyakan hubungan antara konsumerisme dan identitas diri, serta implikasinya bagi kehidupan manusia.
Dengan menganalisis karya seni 'I Shop, Therefore I am', penelitian ini diharapkan dapat memberikan pemahaman yang lebih mendalam tentang bagaimana konsumerisme mempengaruhi pembentukan identitas individu dalam masyarakat kontemporer. Hal ini dapat berkontribusi pada diskusi yang lebih luas tentang dampak konsumerisme pada aspek sosial-budaya dan bagaimana seni dapat berperan dalam mengkritisi fenomena tersebut.

"Here, the Ghost Is Me" is an essay published in "Being As Communion", an exhibition catalog edited by curator Maria-Thalia Carras on the occasion of the 8th Thessaloniki Biennale of Contemporary Art – Central Exhibition (4 March – 21 May 2023). It is a political reflection on the history of Thessaloniki mixed with arthistorical and autobiographical elements.

This paper develops the work of Kerrigan et al. (2011) by considering the impact of the celebrity artist on the associated production and consumption activities. It also considers the role which entrepreneurial marketing plays in helping to create the celebrity artist aura. The artist Thomas Kinkade is used to illustrate how this occurs in practice. Here, authenticity and nostalgia dimensions are also influential factors. Underpinning these relationships are the roles played out by the media, including communication of celebrity artist identity, and the catalysing of its commodification within the celebrity artist brandscape. An enduring celebrity brand results due to the market creation activities of the celebrity artist. A conceptual model is developed which synthesises the factors behind the production and consumption of the celebrity artist which can stimulate further research. This paper provides innovative insight into the world of the celebrity artist by interrogating the market making and shaping devices behind successful production and consumption practices.

My 2017 instance of the course "Reading Popular Culture," for the Department of Liberal Arts and Sciences at OCADU.  The course was premised on the problematic centrality of Dionysian traditions to pop culture; an opening prelude situated 20th and 21st century pop culture themes in the long duree beginning with Greek tragedy (Euripides' _Bacchae_) and then carried forward through Shakespeare (_Twelfth Night_).  Texts were illustrated by rich video content throughout, and special focus of the course on music was captured in the syllabus design, resembling a long playing record album.

Group Material's Timeline: The Chronicle of US Invention in Latin and Central America (1984) at P.S.1's Center for Contemporary Art explored the framing devices of installation art and photography in tandem, as a means of reconfiguring the distribution of the sensible at the height of the Cold War. In response to escalating crisis (including continuous Central Intelligence Agency operations being carried out in Nicaragua and El Salvador), this activist project employed postmodern strategies such as appropriation, pastiche and a resistance to conclusiveness in order to suggest provocative and unexpected dialogues between disparate artworks and artefacts across time and geopolitical difference. Artists ranging from Richard Prince and Barbara Kruger to John Heartfield, Tina Modotti and Arellano Bolivar, among others, come together as signs of political and aesthetic conflict, as networks of visual culture that complicate dominant narratives of spatial and temporal reality during the Cold War era. Closer analysis of such works reveals historical ruptures alongside continuities, relayed by official government policy, mass media and the art world more broadly. By excavating a long-standing history of conflict, Timeline addresses the stakes of the ownership of meaning itself in the mid-1980s, with implications regarding art production and politics for generations to come. Rather than ask, 'What is the attitude of a work to the relations of production of its time?' I should like to ask, 'What is its position in them?' Walter Benjamin ([1938] 1978) Imagining and imaging the reconfiguration of perceptual forms is a political act. In theorist Jacques Rancière's (2009, 25) formulation, politics itself 'consists in reconfiguring the distribution of the sensible'. Moreover, since '[p]olitics revolves around what is seen and what can be said about it, around who has the ability to see and the talent [la qualité] to speak, around the properties of spaces and the possibilities of time' (Rancière 2004, 13), visual culture and discourse compose deeply connected and fraught political terrain. For Rancière (2009, 59), 'the dream of a suitable political work of art' then 'is […] the dream of disrupting the relationship between the visible, the sayable, and the thinkable'. Such an act entwines politics with poetics, creating the possibility of rethinking crucial relationships between space, time and people. Between 1979 and 1996, Group Material produced more than forty-five projects linking political and artistic issues, and provocatively reformulating aesthetico-political relations. 1 This New York-based collaboration of young artist activists repeatedly insisted on exposing the complicity of the culture of capitalism, as embedded in daily life in the United States, with atrocities abroad, as well as making visible the collapsed spaces between public and private realms. Throughout the Cold War, Group Material attempted to unsettle oversimplified binaries (democracy versus socialism, capitalism versus communism, radical versus conservative) and demystify the commercial and aesthetic guises of capitalism, by complicating and clarifying the connections between photographic alignments and political alliances. In other words, in highlighting the instrumental role of visual culture in that system, Group Material raised awareness of the exploitative relationship between the United States and Latin and Central America. Timeline: The Chronicle of US Invention in Latin and Central America presents a compelling example of Group Material's focus on social interaction and collaboration. Installed in a single room of P.S.1's Center for Contemporary Art in Queens from 22 January to 18 March 1984, Group Material desired 'to illustrate the crucial issues of the Central and Latin American-US relationship', through the installation of 'disparate objects, artworks, commodities and historical documents' (Ault 2010, 83). 2 Staged within a publicschool-turned-modern-art-gallery, the institutional choice for this ephemeral project appropriately underscored the artists' pedagogical impetus. Group Material's assembled mélange of art, artefact, commodities and mass culture confused aesthetic expectations by exceeding the traditional categories of 'art'. By combining a range of visual forms, Timeline positioned the viewer in an interrogatory space, as an active agent. Moving through the space, one was

Barbara Kruger's urban-inspired visual artworks articulate a critique of the discursive constructions both of the consumer and of consumption itself. A former designer and picture editor in magazines, Kruger resorts to the aesthetic and linguistic techniques of advertising and media to challenge the forms of knowledge of the consumption society. In line with Michel Foucault's theory of discourse as a network of disciplinary knowledges, this paper will read consumptionthe discipline-, and the consumerthe subject it produces-, against Kruger's visual techniques in order to examine how the latter call into doubt the disciplining effect of consumption and, in particular, how Kruger's reworking on the notion of the gaze is involved in that process. The analytical grid combines a Foucauldian perspective with the tools of visual discourse analysis proposed by Gunther Kress and Theo van Leeuwen.

"I doubt therefore I am!": Doubt, often overlooked or undervalued, holds immense importance as a fundamental element in our pursuit of knowledge. It serves as a critical tool for suspending judgment and challenging biases inherent in our beliefs and perceptions.

Menganalisa dua karya seni, yaitu "Self Portrait with Monkey" karya Frida Kahlo dan "Untitled (Flag)" karya Barbara Kruger, dengan menggunakan teori feminisme subversi identitas sebagai kerangka analisis. Artikel ini akan menjelaskan bahwa gender adalah konstruksi sosial dan performatif, sebagaimana diteorikan oleh Judith Butler dalam bukunya "Gender Trouble". Artikel ini juga akan meninjau kontribusi seniman perempuan dalam seni dan mengangkat isu-isu yang dihadapi perempuan dalam masyarakat. Dalam analisis karya seni Frida Kahlo, akan ditekankan bahwa karya ini mengekspresikan kecemasan, ketakutan, dan keputusasaan, serta menyoroti bahwa gender bukanlah sesuatu yang alami melainkan konstruksi sosial. Dalam karya seni Barbara Kruger, akan ditinjau bagaimana penggunaan simbol-simbol seperti bendera dan penggunaan media massa menjadi kritik terhadap nasionalisme, kekuasaan, dan stereotip gender yang dihadapi oleh perempuan. Artikel ini juga akan menyajikan beberapa contoh artikel lain yang memiliki fokus serupa dalam mengulas isu-isu feminisme dalam seni. Penulis akan mengakomodasi berbagai perspektif dan penafsiran dalam analisis teori feminisme yang dilakukan, dengan tujuan mendorong pembaca untuk mempertimbangkan perspektif feminis dalam seni, merangsang diskusi tentang isu-isu penting yang berkaitan dengan perempuan, dan mengapresiasi kontribusi seniman perempuan dalam mengatasi kesenjangan gender dalam dunia seni.

Kata Kunci: Femisnisme, Subversi identitas, Gender Trouble, Seni, Judith Butler, Isu-isu Feminisme, Frida Kahlo, Barbara Kruger.

Dates are subject to slight modification. Messaging: Text and Visual Art is a Sheldon Statewide exhibition; Statewide is an outreach education and exhibitions program of the Sheldon Museum of Art. This exhibition is made possible by the generous support of Farmers Mutual Insurance Company of Nebraska, Lonnie Pierson Dunbier, the Sheldon Art Association, and the Nebraska Arts Council. Special thanks to Rhonda and James Seacrest.

Purpose– In recent years, scholars have begun suggesting that marketing can learn a lot from art and art history. This paper aims to build on that work by developing the proposition that successful artists are powerful brands.Design/methodology/approach– Using archival data and biographies, this paper explores the branding acumen of Pablo Picasso.Findings– Picasso maneuvered with consummate skill to assure his position in the art world. By mid-career, he had established his brand so successfully that he had the upper hand over the dealers who represented him, and his work was so sought-after that he could count on selling whatever proportion of it he chose to allow to leave his studio. In order to achieve this level of success, Picasso had to read the culture in which he operated and manage the efforts of a complex system of different intermediaries and stakeholders that was not unlike an organization. Based on an analysis of Picasso's career, the authors assert that in their ma...

Este artigo discutirá o Merzbau de Hannover enquanto experiência "paraarquitectónica" e como doutrina sobre o conforto ambiental, doutrina essa ligada à sensação intensa e ao relaxamento mnemónico. O Merzbau, a Traumhaus (casa de sonho) cubo-gótica de Kurt Schwitters, será aqui entendido como um laboratório de estímulos sensoriais onde foram praticados um controlo estético do esquecimento mas também do aborrecimento.

Profª da Escola de Arquitetura da UFMG, doutoranda em Artes Plásticas pela EBA-UFMG, mestre em Estética e História da Arte pela USP, graduada em Arquitetura e Urbanismo pela Universidade Santa Úrsula. Pesquisa em Arte Contemporânea, Arquitetura e Urbanismo, com ênfase em Instalação e Arte Urbana, história, teoria e crítica de arte. Dentre os vários suportes da arte, inclusive aqueles ligados à arte-tecnologia, que constituem a arte contemporânea, a Instalação é o que admite a maior liberdade de expressão, assim como sua própria natureza, esta, se transforma, e, essa transmutação de objeto-espacial à ocupação espacial faz da Instalação uma forma de fazer artístico intrinsecamente intermidiático. A Instalação, segundo seus princípios básicos, é uma obra sem limites, ela permite qualquer tipo de suporte em sua produção, já que mais que um suporte é uma poética, uma verdade em si, que promove a criação plena de mundos múltiplos, verdadeiros em sua própria essência, mesmo que imaginários...

Dates are subject to slight modification. Messaging: Text and Visual Art is a Sheldon Statewide exhibition; Statewide is an outreach education and exhibitions program of the Sheldon Museum of Art. This exhibition is made possible by the generous support of Farmers Mutual Insurance Company of Nebraska, Lonnie Pierson Dunbier, the Sheldon Art Association, and the Nebraska Arts Council. Special thanks to Rhonda and James Seacrest.

Shock' advertising is the new black and the subject of the reflection in which this article engages. We do this in particular through consideration of the (largely) British high-street fashion house French Connection's seemingly endless 'FCUK' campaign. The obvious resonance between this abbreviation and perhaps the most popular word in the English language was at the heart of the campaign's appeal and it continues today through various extensions on both slogans and logos on French Connection's own goods and indeed those who seek to piggy back upon and/or subvert its market power. It is far from the only example of such 'shock' tactics. Whether discussing reproduction in graphic detail with children, joyously dismantling chastity, or merely fucking with fuck, it seems that traditional mores can no longer remain virgin territory, unsullied by rapacious marketing. Our mediated experiences of reaching 'extremes', it now appears, are not paralysing, mesmerising, fascinating or inspiring but simply a further prod down the path leading to (gleeful) purchase. In this paper we explore how, via a series of semiotic reversals, the new, the strange, the unfamiliar and the would-be shocking are rendered banal, and thus thoroughly comprehensible through brand association and the endless re-iteration of existing works.

Some time ago, while discussing a more squarely academic paper I had written on Cindy Sherman while a PhD student at the Graduate Center, CUNY, the art historian David Joselit said to me, “Cindy isn’t afraid of being ugly.” My memory is rather scattershot, but when it comes to my time in New York, I remember hookups (the bad ones, the should-have-been-good ones), movies, every square inch of the walk from Washington Square Park to SoHo, and this comment. Feminist misgivings about the male gaze aside, what struck me was the certainty with which the comment was made, indeed a variety of certainties: that we can discern the artist’s intention, that being ugly must inspire fear (in fairy tales and melodramas, sometimes the most beautiful souls are ugly indeed or end up victorious), that queer art history is just a series of iterations of Winckelmann’s horny aesthetics, that the implication might be that I myself am ugly too, that being ugly is undesirable but intellectually interesting.

The murals by Diego Rivera at the Rockefeller Center in New York, realized in 1933, are one of the most renowned lost artworks. The success of Rivera's work doesn't depend on the number of visitors, since the fresco was removed before being fully completed; it is related, instead, to the very rich debate fueled by the press around the concept of the image. In the United States the work of Rivera was considered very revolutionary for a number of reasons: his particular fresco technique, his rediscovery of pre-Columbian art and the political ideas he depicted. An opportunity to reflect on Rivera's work is offered here by the number of articles published on this topic by the New York Times, while the artist was working on the project. From these sources emerges the communication ability of Rivera, who can involve a very large audience, and also the role played by the press in the almost involuntary spreading of his message. In this way Rivera can achieve, at least partially, his purpose. His work will not be seen by viewers but the political ideas he wanted to address will spread more widely and deeply thanks to this rich debate.

Özet
Araştırmada Hegel'in bilinç ve özbilinç kavramları üzerinden Efendi-Köle diyalektiği analiz edilerek  mutlaklaşma, özgürleşme ve kendinin bilincinde olma durumları Hegel'in tarih yorumu etkisinde incelenmektedir. Ardından sanat alanında özbilincin devreye girdiği dönem ve sanat yaratımlarında eleştirel söylem dili araştırmaya dahil edilerek, sanatçının kendisi etrafındaki gerçeklik karşısında geliştirdiği farkındalık ve ortaya konulan sanat eserleri ile bilinçli bir başkaldırı gerçekleştirmesi ve bunun sanat tarihindeki yansımaları olan farklı dönemlere ait sanat hareketleri eleştirel bilinç odağında yeniden yorumlanmaktadır. Bu farkındalığa bir başkaldırı niteliği taşıyan feminist söylem dili ve eleştirel bilincin sanat alanında göstergeleri Barbara Kruger örnekleminde analiz edilmektedir. Barbara Kruger’ın çalışmaları Hegel’in Efendi-Köle diyalektiği bağlamında incelenerek örnekleme alınan çalışmalar ve mekan tasarımları ile yazı-görsel figürlü kolaj tasarımları bağımlı ve bağımsız özbilinç göstergeleri ile çözümlenmektedir. Araştırmanın yöntemi evren ve örneklem üzerinde yapılan betimsel bir araştırmadır. Benzeşim modelinden yararlanılan araştırmada ilişkisel tarama modelinde karşılaştırma türü tarama yöntemi kullanılmıştır.
Abstract
In the study, by analyzing Hegel's the master-slave dialectic on the concepts of consciousness and self-consciousness is examined under the influence of Hegel's interpretation of history in terms of absolutism, liberation and self-consciousness. Then, in the field of art, self-consciousness has been included in the period and artistic creations in which the critical discourse has been included in the research, the awareness that the artist has developed in the face of the reality around him and the realization of a conscious rebellion with the artworks revealed and the art movements of different periods are reinterpreted in the critical consciousness center. Feminist rhetoric, which is a rebellion to this awareness, and language and critical awareness are analyzed in the field of art in the sample of Barbara Kruger. By analyzing Barbara Kruger's works in the context of Hegel's master-slave dialectic, sampled works, space designs and collage designs with the written-visual figures are examined with regard to dependent and independent self-consciousness indicators.The method of research is a descriptive study on the universe and the sample. In the study using the affinity model, the coparison type screening method was used in the relational screening model.

It. Marca, Marchio; Fr. Marque; Germ. Marke; Span. Marca. "Brand", from the ancient norse brandr (to burn), originally refers to the practice of livestock marking. The term includes all graphic signs, names, symbols and images used to uniquely identify a product and a company differentiating it from other producers and conveying information about its identity and quality. While logo and trademark designate a

Nueva Jersey, 1945) es una artista conceptual perteneciente al movimiento feminista. En lo concerniente a su formación, cabe destacar el ingreso en The Parson Design School (1965), escuela que le abrió camino hacia su vocación profesional. De este modo, en los

L’IMMAGINE POLITICA DI JOHN HEARTFIELD , BARBARA KRUGER E BANKSY

Ambra Sombo                                                                                                          Anno 2015\2016

Dagli albori dei tempi l’artista è una figura che in un contesto sociale può, attraverso le sue opere  comunicare allo spettatore.
Nelle pagine che seguono verranno affrontati tre artisti: John Heartfield, Barbara Kruger e Banksy.
I fattori che nonostante il diverso contesto socio-culturale riesce comunque ad accomunarli  sono:
la convergenza all’analisi di temi sociali e politici;
il dialogo con le masse instaurato dalle loro opere ognuna con la propria metodologia e sempre determinato da una forte connotazione attivista;
la leggibilità immediata; e soprattutto nel caso di Heartfield e Kruger la funzione diretta che attribuiscono alla parola scritta;
sono agitatori-politici attraverso le loro immagini carica di satira e ironia;
e nel caso di John Heartfields e Banksy una presa di pozione in prima linea anche a costo di mettere a repentaglio la loro incolumità.
Queste sono le caratteristiche  che nonostante le diverse circostanze storiche e i diversi contesti in cui essi sono attivi li accomunano. In questa tesi si andrà ad analizzare l’artista, il contesto e soprattutto la funzione delle loro opere, come comunicatrici.
Per immagine politica in questa tesi s’intende propriamente un arte figurativa che nella sua forma e nel suo contenuto verte sul dato reale, dove si ritrova l’esigenza di fermare lo sguardo sui dati della realtà, che si riscontrano nella situazione socio-politica con cui questi artisti si scontrano. Questi artisti sebbene collocati in spazi temporali diversi, si possono definire attivi,  che producono arte funzionale e che comunicano socialmente, analizzando questioni relativamente controverse (alcune più contemporanee di altre) riscontrate nel loro percorso, utilizzando immagini la cui lettura è quasi immediata e il messaggio insito carico politicamente  .
Come già sommariamente esposto, questi tre artisti propongono un tipo di operazione artistica, che si può racchiudere schematicamente  in quattro fattori determinanti. Propongono un arte che ha come predisposizione, una funzionalità socialmente attivista, questi artisti hanno pregresso una formazione che li porta al contatto con le masse, con le quali, attraverso i loro lavori, cercano di creare una relazione (ideologicamente già costruita), suscitando di conseguenza una riflessione attenta al tema presentatogli.
John Heatfield pubblica settimanalmente dal 1930 al 1938 i suoi fotomontaggi per la rivista “Arbeiter-Ilustrierte- Zeitung; Barbara Kruger utilizzando canali di mass-media come cartelloni pubblicitari e campagne sociali; Banksy attraverso i murales, nel contesto urbano;
L’immediata lettura dell’opera è la chiave fondamentale nell’analisi ed esposizione di questi tre artisti, la recezione del messaggio è spesso sottolineata dall’accostamento dell’immagine accompagnata spesso da un testo  si rimanda quindi  la funzione diretta della parola scritta. Tutti e tre lavorano su messaggi con una componente ironica e\o satirica.
Si può quindi arrivare alla conclusione che attraverso l’utilizzo di satira\ironia e messaggi provocatori questi artisti fungono da comunicatori sociali, si possono definire artisti militanti.
Si può quindi concludere che l’Arte può avere una funzionalità politica e sociale, che dovrebbe essere fonte di riflessioni del contesto storico in cui ci troviamo.
Sia Banksy ,che Barbara Kruger e John Hearfield creano un arte che in parte si presenta come rispecchio del loro contesto, sono riusciti a creare un tipo d’intervento artistico che cerca di essere funzionale in primis nella società.
Nel contesto culturale odierno è bene utilizzare l’Arte come mezzo di comunicazione per affrontare quei temi e quelle argomentazioni su cui è necessario soffermarsi, perché se anche non graditi, sono comunque parte costituente della società contemporanea. L’utilizzo dell’arte per diffondere una maggiore consapevolezza nell’individuo contemporaneo, attraverso quei canali di comunicazione in cui siamo completamente immersi, è un buon esempio da prendere da questi artisti.

Nel testo è affrontata l'analisi semiotica di 6 opere di Barbara Kruger. Al di là di una "firma plastica", cioè gli attributi di riconoscibilità dell'artista nelle opere, si celano diverse strategie: ne vengono individuate tre, successivamente comparate ai differenti contesti o media d'uso.

art is known for her contemporary and controversial art. She explores in her work political, social, and especially feminist provocations. This essay discusses how consumerism, femininity, the ´gaze´ of a male and nude/ semi-nude images refers to the identity of a women. Complementary to this, the essay will be also discussing Richard Kern´s way to present women´s identity through his work. The key aspect examined two different artist who are trying to explore the same theme. The three images have been chosen because, they especially deals the aspects that will be analyzed in the essay.

The Influence of Graphics Design has earned a level of control on society. In the dissertation am going to uncover the influence of graphic design on pop-culture. Pop culture is defined as the ideas, knowledge, information, creative works and principles expressed by a group of people at a given time (Yourdictionary.com, 2017). Graphic design refers to the art and practice of planning and projecting ideas and experiences with visuals and textual content (Cezzar, 2015). The purpose of this dissertation is to discover the impact that graphic design has on popular culture. A qualitative research methodology will be utilised to conduct this research. This will help with data analysis, validity and readability. This research will focus on imagery analysis, advertising, branding and consumer attitude. The dissertation will aim at modern society and historical influences.

This is the first anthology of writings dedicated to the history and theory of collage. The book gathers together nineteen essays written by artists, theorists, and historians - all seek to define collage with reference to the notion of 'ends': the physical, historical, technological, or ideological extremities through which it operates and that distinguish it from other media.

The book includes essays by: Yuval Etgar, Herta Wescher, Christine Poggi, Clement Greenberg, Elza Adamowicz, Louis Aragon, Max Ernst, Hans Arp, Hannah Höch, Benjamin Buchloh, Brandon Taylor, John Stezaker, Groupe MU, Craig Owens, Douglas Crimp, Richard Prince, Sherrie Levine, Martha Rosler and Ali Smith.

In order to clearly indicate the purposes of my research, there is the need to carefully ditinguish the two different aspects that the title itself suggests: The first part consist of a humanistic analisys, while the second to a social critique. The sentence: " Art is Art when it is able to re-invent itself " arises several questions that have to be enganged during the discussion: In the first place, questioning the meaning of re-inventing, renewing , renovating objects and their social function which leads to an historical analysis of the meaning of objects and objectuality. My further intention is to question Originality nowadays; how is it possible to be original during a period that is possible to define as post-massification era. The first paragraph, therefore, indicates the need for a carefull, in-detail analisys of the sociological, cultural and phylosophical factors that contribute to the development of any art movement. The second paragraph identifies, instead, and links to the first, through a social critique, the thematics of massification and omologation. This particular aspect of the discussion will analyze Postmodernism and the stagnation derived from it during the last two decades of the twentieth century (the '80s and the '90s): How mass production and global comunication media resulted in lower quality products and information. It will present a critique to the figure of artist as mercenary, who produces art for a materialistic, financial purpose and not as an intellectual act of freedom and liberation. Personal Statement: Through the past two years I have been interested in three main thematics: Serendipity, Chance and the use of discarded found objects. What I am currently working on is to define a way of balance my intervention over them and their innate qualities and narratives. I could potentially describe myself as a Storyteller , whose intervention over the objects he found, enhances the hidden stories behind objects, which are considered as encapsuling devices for tories to be told. My main concern is working with discarded objects, hilighting a particular interest for electronical components and wires. I am confident in the idea of developing, during this academic year, sculptorial skills in order to adapt them, and fuse them toghether to the discarded objects I will find during my journeys. My aim is to present a coherent body of work composed of a main physical piece beside an audio and video installation.

The proliferation of digital technologies in nearly every aspect of life has been accompanied with narratives of change – both dystopian and utopian – from its early days. And if art is in any way to relate to our lived experience, then it comes at no surprise that artists started to investigate the digital – as a tool and medium, but also as a testing ground for new models of thinking about art in relation to society. As Walter Benjamin infamously demonstrated in his analysis of art in times of technical reproducibility, technological advancements not only affect the way art is produced, but also the politics of its distribution and consumption. If the reproducibility of a photograph has caused the loss of the aura of the unique original – what effects do the ephemerality and malleability of the digital artwork have on previous formulas of producing, viewing and thinking art? Is digital art in its fleeting, participatory nature capable of challenging the the status of the artwork as a commodity, as envisioned by the politically motivated computer art of the 80s and 90s? Or are we today merely dealing with a digitalised version of an established system of contemporary art under the rule of neo-liberal capital?

This Article examines Andy Warhol's use of food and food products as a metaphor for commerce and consumption. It observes that Warhol's use of images and marks was often inconsistent with copyright and trademark doctrine, and suggests that the fair use doctrine should incorporate a "Warhol test."

Este artigo pretende investigar a obra da artista contemporânea norte-americana Barbara Kruger, contextualizando o surgimento e desenvolvimento das artes da instalação e dos chamados Site Specific Works, ferramentas frequentemente utilizadas pela artista. Serão igualmente investigadas algumas de suas matrizes artísticas, bem como o diálogo profícuo estabelecido com uma certa tradição, para a produção do que considero ser uma arte combativa e compósita, que amalgama e refuncionaliza elementos da publicidade, das artes visuais e da fotografia. Abstract: This article intends to investigate the oeuvre of the American contemporary artist Barbara Kruger, contextualizing the birth and development of Installation, and the so-called Site Specific Works, tools frequently used by this artist. Some of her artistic matrixes will also be investigated, as well as the fruitful dialogue established with a certain tradition, in order to produce what I consider to be a combative and composite art, one that amalgamates and refunctionalizes elements of advertising, visual arts, and photography.

In Barbara Kruger’s sophisticated juxtaposition of images and words emerges injured hands, broken hearts, terrified faces, bandaged heads, punished bodies, and birthing genitalia that poignantly associate with pain. And the text messages superimposed over the pictures deal with experiences and effects of pain: “There is only one antidote to mental suffering and that is physical pain.” Art historians have largely ignored the fact that the theme of pain, including physical torment and mental suffering, actually underlies Kruger’s work made between the late 1970s and the 1990s. This body of work throws into relief her interests in issues and representations of sexual politics, medical establishment, and media spectatorship over two decades. Her scenes of pain reveal a keen awareness of the problematics of spectacle of violence, horror, and “wound culture.” In this spectacle-crazed yet shock-proof time, she shuns away from lurid and gory scenes of pain but raises questions about the meanings of bodies in crisis with intelligence and acuity.

We shall see in this essay it is in the imagery of pain that the dynamics between pictures and words produces a confluence of Kruger’s major concerns of social relations, body politics, and media culture. This interpretative strategy will hopefully more clearly reflect the persistent conflation of issues and interests evident in Kruger’s artistic practice, and avoid the common pigeonholing and categorization of gender, economic, political, and formalist readings that the artist has tried to dispel. I will first read the critique of medical treatment of pain in Kruger’s early photo-text work Hospital and then analyze her continued use of medical materials, responses to media culture and stereotypes, and inquiries into the borders of pain in the work of the 1980s. Finally I focus on the pain of childbirth and the theme of empathy featured in the installations and billboards of the early 1990s within a gradual culture-wide anesthesia.