20
MODULE 7 CONTEXTUAL ANALYSIS Art 100 Understanding Visual Culture

Art100Su12Module07

Embed Size (px)

Citation preview

Page 1: Art100Su12Module07

MODULE 7CONTEXTUAL ANALYSIS

Art 100Understanding Visual Culture

Page 2: Art100Su12Module07

Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991

Page 3: Art100Su12Module07

Piece, as installed at the Metropolitan Museum of Art, NYC

Page 4: Art100Su12Module07

What are the key signifiers in this piece?

Page 5: Art100Su12Module07

detail of mouth

Page 6: Art100Su12Module07

synchronic [syn=together]

Page 7: Art100Su12Module07

synchronic

Both formal and semiotic analyses are synchronic in nature: they consider meanings generated by an arrangement of elements within a single moment in time.

Page 8: Art100Su12Module07

Synchronicunderstandingof a tree’s functions

Page 9: Art100Su12Module07

diachronic

dia=across

Page 10: Art100Su12Module07

diachronicunderstandingof a tree [dimension of time is present]

Dia=across or through timeDiachronic analyses take into account meanings generated over time, including the accretion and depletion of meanings.

Page 11: Art100Su12Module07

diachronicunderstandingof a tree [dimension of time is present]

Dia=across or through timeDiachronic analyses take into account meanings generated over time, including the accretion and depletion of meanings.

Page 12: Art100Su12Module07

Examination of tree rings:Synchronic or diachronic analysis?

Page 13: Art100Su12Module07

Diachronic analysis takes change into account. Meanings of cultural objects are dynamic over time. New meanings accrue to images, old ones fall away and have to be painstakingly recovered, if at all.

Page 14: Art100Su12Module07

Lorenzo Lotto, Portrait of a Young Man in Front of a White Curtainc. 1508, oil on wood, 16 1/2 x 14 inches

Page 15: Art100Su12Module07

Botticelli, The Birth of Venus, c. 1482

Page 16: Art100Su12Module07

Botticelli, Venus and Mars, c. 1483

Page 17: Art100Su12Module07

Gentile da Fabriano, Adoration of the Magi, 1423http://www.gnpcb.org/esv/search/?q=Matthew+2

Page 18: Art100Su12Module07

Lorenzo Lotto, Adoration of the Shepherds, c. 1534http://www.gnpcb.org/esv/search/?q=Luke+2

Page 19: Art100Su12Module07

To what do we attribute these differences?

Page 20: Art100Su12Module07

Possible explanations

Individual style?Artist’s biography and preferences?Patron’s biography and preferences?Social, political, cultural, religious surroundings