Renewing art.

  1. Many of the artists we’ve examined over the course of this term turned to the “primitive” as a strategy for renewing art.
    Choose two of the artworks listed below and write a short essay comparing the place of the “primitive” in them.
    To what end do these works deploy the “primitive”? What lessons do they draw from “primitive” objects? What
    kind of relationship do these works establish between West and non-West, Europe and its colonies? How does
    the “primitive” distinguish these works from other works we’ve encountered? What does “primitivism” refer to
    anyway, and what kinds of misrecognitions or misunderstandings has it led on to?Please select from the
    following artworks:Paul Gauguin, Vision after the Sermon, 1888.Gauguin, The Spirit of the Dead Watches,
    1892.Henri Matisse, Blue Nude, Souvenir of Biskra, 1907.Pablo Picasso, Les Demoiselles d’Avignon,
    1907.Hannah Höch, Strange Beauty, 1929.Meret Oppenheim, Luncheon in Fur, 1936.Wifredo Lam, The
    Jungle, 1942-3. 2. One of our primary concerns in the second half of this class has been the way(s) in which
    objects from everyday life (i.e., commodities) come into contact with modern art. This encounter has been
    staged nowhere more immediately than in Vladimir Tatlin’s sportswear suit (1924-25) and Marcel Duchamp’s
    readymades (Bicycle Wheel (1913); Bottlerack (1914); In Advance of a Broken Arm (1915); Fountain (1917)).
    Your task here is to write a short essay comparing these two projects and how they foreground the contact
    between art object and everyday object. To what end did Tatlin design a sportwear suit in 1924-25? To what
    end did Duchamp introduce urinals, bottleracks, and shovels into spaces institutionally reserved for works of
    art? What do the two projects share? Where do they differ?

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