TOM FRIEDMAN UNTITLED

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1 DAMIÁN ORTEGA, COSMIC THING, 2002

2 TOM FRIEDMAN UNTITLED 1990

3 TOM FRIEDMAN UNTITLED 1990

4 TOM FRIEDMAN UNTITLED 1990 TOM FRIEDMAN, UNTITLED, 1990

5 TOM FRIEDMAN, UNTITLED, 1990

DADA: MOVEMENT OF PESSIMISM AND NEGATION An artistic and literary movement that grew out of dissatisfaction with traditional social values and conventional artistic practices during World War I (1914

6 DADA: MOVEMENT OF PESSIMISM AND NEGATION An artistic and literary movement that grew out of dissatisfaction with traditional social values and conventional artistic practices during World War I ( ). Dada artists were disillusioned by the social values that led to the war and sought to expose accepted and often repressive conventions of order and logic by shocking people into self-awareness. Cover of the first edition of the publication Dada by Tristan Tzara (1917)

8 MARCEL DUCHAMP A new art that was in the service of the mind, as opposed to a purely retinal art, intended only to please the eye.

9 MARCEL DUCHAMP Disrupting centuries of thinking about the artist as a skilled creator of original handmade objects: 1. Readymades 2. Re-Production

READYMADES A term coined by Duchamp in 1915 to

of art by the mere act of an artist s selection

10 READYMADES A term coined by Duchamp in 1915 to describe prefabricated, often massproduced objects isolated from their functional context (de-contextualization) and elevated to the status of art by the mere act of an artist s selection and designation. Defying the notion that art must be beautiful.

11 Fountain (1917)

12 Duchamp himself preferred to see his readymades as a proof that art is in fact no different from anything else in the world. Instead of elevating the commonplace, this interpretation casts art off its pedestal and into everyday life. - Eleanor Heartney, Art & Today Fountain (1917)

13 RE-PRODUCTION art resides not in the object itself, but in the meanings Boit en valise, 1941 embedded in it.

14 RE-PRODUCTION: DEMISE OF ORIGINALITY Mass reproduction has a democratizing effect. It would strip the art object of its precious aura and return it to the masses. The Work of Art in the Age of Mechanical Reproduction Walter Benjamin

15 DUCHAMP S LEGACY demolition of common place assumptions about art s uniqueness poetic transformation of ordinary objects into art-object revelation of art s commodity status questioning the position of artist as a skilled elite

16 ARTHUR DANTO S EPIPHANY ABOUT THE END OF ART Why is this art and not simply a Brillo box? Warhol s Brillo Box is art and the commercial Brillo box is not because their creators (and their viewers) had completely different intentions.

17 ARTHUR DANTO S EPIPHANY ABOUT THE END OF ART 1. Being art is not about the crafted OBJECT

18 ARTHUR DANTO S EPIPHANY ABOUT THE END OF ART 2. Being art is not about the conventional FORM

19 PIERO MANZONI Linea (1959)

20 ARTHUR DANTO S EPIPHANY ABOUT THE END OF ART 3. Being art is not about the Material

21 YVES KLEIN

22 THE END OF ART! What in the end makes the difference between a Brillo box and a work of art consisting of a Brillo box is a certain theory of art. It is theory that takes it up into the world of art, and keeps it from collapsing into the real object which it is. [Warhol s Brillo boxes] could not have been art fifty years ago. The world has to be ready for certain things, the artworld no less than the real one. It is the role of artistic theories, these days as always, to make the artworld, and art, possible. - Arthur Danto, The Artworld (1964)

1980 COMMODITY CRITICS AESTHETICIZATION OF ORDINARY OBJECTS Barbara Kruger, Untitled (I shop therefore I am), 1987 In a consumer society we have lost all sense of the distinction between original and

23 1980 COMMODITY CRITICS AESTHETICIZATION OF ORDINARY OBJECTS Barbara Kruger, Untitled (I shop therefore I am), 1987 In a consumer society we have lost all sense of the distinction between original and manufactured expressions, therefore creativity is becoming indistinguishable not only from production but from consumption as well. In this situation the act of shopping or consuming becomes the creative act and postmodern version of democratic choice and self-expression.

24 1980 COMMODITY CRITICS AESTHETICIZATION OF ORDINARY OBJECTS Jeff Koons, New Hoover series, 1980s

25 Jeff Koons, New Hoover series at Versailles, 1981

26 Jeff Koons, Baccarat Crystal Set, 1986

27 Jeff Koons, Poodle, 1991

28 Jeff Koons, Michael Jackson and Bubbles, 1988

29 Haim Steinbach, Display #7, 1979

30 Haim Steinbach, Pink Accent, 1987

31 For me the key issue in art making was not making, but choice what and how many objects to buy, where to place one in relationship to another, how many of each object to use in a single piece.

1990-2000 SOCIAL/POLITICAL REALITIES OF THE

32 SOCIAL/POLITICAL REALITIES OF THE POST-CONSUMPTION ERA Tony Cragg, Spyrogyra, 1997

33 Ronald Jones, The bed Ethel Rosenberg slept in the night before her execution, 1998

34 Ronald Jones, The bed Neil Armstrong slept in his first night back from the moon, 1998

35 Ronald Jones, The bed Jack Ruby slept in the night before he shot Lee Harvey Oswald, 1998

36 Sarah Sze, Triple Point (Planetarium), 2013

37 Doris Salcedo, Untitled,

38 Doris Salcedo, Untitled, 2003

THE TRADITIONAL DIVISION OF OBJECT & IDEA

DAMIÁN ORTEGA, COSMIC THING, 2002 THE TRADITIONAL DIVISION OF OBJECT & IDEA CONTEXT > social, historical, cultural CODE > rules and form CHANNEL > medium MESSAGE > content and idea artist/addresser audience/addressee