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Distance Learning 4-Credit Winter Session Course
Dec 18, 2017 – January 12, 2018
ARTH 287R (01)
Art Inc.
Beginning with the corporation itself, in its postwar incarnation, this course examines the ways that artists and designers have intervened within the sphere of corporate culture – either by helping to shape its image through logo design and advertising – or by pushing against it as the case may be, such as Hans Haacke’s critique of Mobil sponsorship at the Museum of Modern Art. We go on to examine what we might call the “postmodern” corporation and the age of digital technologies, questioning how the subversive impulses of Paris in ’68 became folded into a new corporate culture, exemplified in the tendency of advertising to appropriate contemporary art. Or, how artists such as Damien Hirst, Takashi Murakami, and Jeff Koons turned themselves into corporations – the “branded” artist as it were – as well as the Conceptual play with that conceit in groups like Readymades Belong to Everyone. We conclude with a closer look at activist groups like the Yes Men who attempt to subvert that impulse.
Course Fulfills:
Harpur W – Writing Credit
A – Aesthetic Perspective Credit
Gen Ed Credit
Instructor: Wylie Schwartz
Department of Art History
The ex-voto is an offering to a deity in fulfillment of a vow, a promise made in a moment of despair. Delivered from illness or imprisonment, the votary visits a shrine and publishes her commitment with a gift. Ex-votos—sometimes valuable gifts, sometimes mere evidence—are often misrecognized by scholarship, which confuses them with cult images, miracle-working images, and image-borne pleas for spiritual salvation. In fifteenth-century Italy, votaries began to offer painted panels narrating their own stories. This new class of ex-voto, resembling works of sacred art, only invites more confusion. The talk attempts to distinguish the ex-voto from other devotional images, including artworks, on the basis of the concepts of reference and authorship.
Binghamton Art History 