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| a filmmaker whose individual style and complete control over all elements of production give a film its personal and unique stamp. |
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a style of film characterized by stories set amongst the poor and working class, filmed on location, frequently using nonprofessional actors. Italian neorealist films mostly contend with the difficult economical and moral conditions of post-World War II Italy, reflecting the changes in the Italian psyche and the conditions of everyday life: poverty and desperation.
Example: Frederico Fellini's "La Dolce Vita" 1960
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a nickname for a broad sub-genre of Western film that emerged in the mid-1960s, so named because most were produced and directed by Italians, usually in co-production with a Spanish partner.
Example of Director: Sergio Leone
Example of movie: The good , The bad, and The ugly, Sergio Leone, 1966 |
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a film genre that emerged in the United States in the early 1970s when many exploitation films were made that targeted an audience of urban black people; the word itself is a portmanteau of the words "black" and "exploitation." Blaxploitation films were the first to feature soundtracks of funk and soul music. These films starred primarily black actors. tend to take place in the ghetto, dealing with hit men, drug dealers and pimps.
Example: Sweet Sweetback's Baadasssss Song, Melvin Van Peebles, 1976 |
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Refers to a work of art designed specifically for a particular location and that has an interrelationship with the location. If removed from the location it would lose all or a substantial part of its meaning. Site-specific is often used of installation works, as in site-specific installation, and Land art is site-specific almost by definition.
Example: Richard Serra, "Tilted Arc", 1980 |
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Term applied to art in which the process of its making is not hidden but remains a prominent aspect of the completed work so that a part or even the whole of its subject is the making of the work. Process became a widespread preoccupation of artists in the late 1960s and the 1970s, but like so much else can be tracked back to the Abstract Expressionist paintings of Jackson Pollock.
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From about the late 1960s the term Environmental Art became applied specifically to art ¿ often but not necessarily in the form of Installation ¿ that addressed social and political issues relating to the natural and urban environment. Example: Robert Smithson,
Spiral Jetty, 1970, 1970
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| Term describing the revival of large-scale mural painting in Mexico in the 1920s and 1930s. The three principal artists were José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros. All three were committed to left-wing ideas in the politically turbulent Mexico of the period and their painting reflects this. Their use of large-scale mural painting in or on public buildings was intended to convey social and political messages to the public. In order to make their work as accessible as possible they all worked in basically realist styles but with distinctively personal differences |
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“My God, my God, why hast Thou forsaken me?” – Matthew 27:45-46
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| Outcry by Jesus on the cross, also the subtitle to Barnett Newman's cycle of modernist paintings, "Stations of the Cross". |
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| Idea formulated by Michelle Meagher in her article "Jenny Saville and a Feminist Aesthetics of Disgust"; Disgust as something fundamental (physically, socially, subjectively) to humans, and an affect that forces us to confront our bodily existence; As can be seen in Saville's paintings that allows one to feel and examine our reaction of disgust. |
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an organism that has both artificial and natural systems (half-human, half-machine), often associated with science fiction. However, many artists have tried to create public awareness of cybernetic organisms; these can range from paintings to installations.
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Order of the British Empire, motto “For
God and Empire” |
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an order of chivalry established on 4 June 1917 by George V of the United Kingdom. The Order includes five classes in civil and military divisions; the most junior of the British orders of chivalry, and the largest; one member is Yinka Shonibare
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| Yink Shonibare, Chris Ofili |
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National Museum of the American
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| a museum dedicated to the life, languages, literature, history, and arts of the native peoples of the Western Hemisphere. It was established in 1989 through an Act of Congress. Operating under the auspices of the Smithsonian Institution; |
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applied to statements and images that conveyed overly generalized or stereotyped notions of identity; often used negatively, often to resist a claim made about you by someone claiming to speak on your behalf.
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| a state of being, arrived at through the innovative mixing and borrowing of ideas, languages and modes of practice |
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| Rasquachismo / Domesticana |
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a visual and verbal style associated w/ Chicano and Mexican working class. It is a defiant, ironic, excessive aesthetic that affirms Mexican identity and resists assimilation into a dominant culture w/in the U.S.
Example: Gomez-Peña, "Couple in Cage" |
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art that blend ideas from cultures in close proximity
Example: Guillermo Gómez-Peña, "Couple in a Cage"
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| Artists born after the political struggles of the 60s-80s, want to move beyond identity labels and make art about a wide variety of themes; they express little interest to be spokespersons for a racial, gender, or ethnic identity. |
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| post-black / post-feminist |
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| black or female artists that don't want to be identified as black / feminist artists; embracing multiple histories and influences, and reinventing identities for the 21st century |
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| started in 60s in France; based on a strategy for analyzing cultural conditions in terms of and underlying, structural framework; assumed a neutral stance in their analyzes |
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| analyzed language and other sign systems as part of the broader power structures of society; claimed to uncover how humans are at mercy of the systems that create and disseminate the texts and images that surround us regularly in our everyday life; individual subjectivity is a myth; |
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| death of the author / the birth of the reader |
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"D.O.A" an essay by Roland Barthes; an example of the challenge to individual self-determination and self-expression; there is no single, unchanging meaning for any text, the originator to the txt is not the ultimate authority for its meaning; "a text's unity lies not in its origins," or its creator, "but in its destination," or its audience; Readers must separate a literary work from its creator in order to liberate it from interpretive tyranny
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| refers to the class of art produced with the help of computer software and hardware; often with an interactive or multimedia aspect. It can also refer to art produced through a process, any one of whose steps was influenced by such software or hardware. |
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| an art practice in which the medium is living matter and the works of art are produced in laboratories and/or artists’ studios. The tool is biotechnology, which includes such technologies as genetic engineering, tissue culture and cloning. |
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| Contact Improvisation Dance |
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| a dance technique in which points of physical contact provide the starting point for exploration through movement improvisation |
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deciding the next step / movement of a dance phrase by for example rolling a dice; created by Merce Cunningham |
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