Amelia Jones lecture-Katie Hitch


On April 17th I went to hear Amelia Jones speak about Queer Feminist Durationality in contemporary art. Amelia Jones is an art historian, curator, and art critic who specializes in feminist art and Dadaism. Jones has taught art history at UC Riverside, University of Southern California, the Art Center College of Design in Pasadena, California and was formerly the Pilkington Chair of the art history department at the University of Manchester.” She is a professor at McGill University and has produced multiple books that break down commonly assumed options about the traditional art world as well as the contemporary art world. Continue reading

Nao Bustamante-Katie Hitch

Nao Bustamante’s ideas are many times driven by the idea of “anti-art and anti-entertainment,” as she called it. She told the audience that she didn’t believe she was a real artist and that she was amazed so many people showed up to see her. She uses her body a lot in her works and considers her work to be a “crazy quilt”. She opened her lecture with a “hypnosis” of the audience. She asked us to become her and to understand her fully without judgment. I thought this was an intriguing way to start a lecture and it made me interested in what she had to say.

A lot of her work deals with her body. She works in many different mediums and believes “there’s no hierarchy of self expression” and that it’s important to express yourself confidently by any means.  An example of her using her body is in the performance piece where she hid under a rug. While under the rug she spoke out of a microphone and interacted with the audience. Bustamante stated that some people didn’t even think there was an actual person under the rug, so they proceeded to sit on her and kick her while she was under the rug.  Continue reading

Edible? Katie Hitch

Viviane Le Courtois’s show Edible? at the Boulder Contemporary art museum displays an intriguing combination between food and art. She is inspired by her surroundings and creates art that is relatable to both people inside and outside of the art world. Le Courtois also specializes in utilizing a wide array of materials, which includes videos, photos, prints, interactive installations, collected materials, sounds, sculptures, and of course food related materials. “Viviane Le Courtois received her Diplôme National Supérieur d’Expression Plastique (MFA) in Sculpture/Installations from the International School of Art and Research in Nice, France in 1992.” In 1994 she moved to the US and received an MA in art history at the University of Denver in 2000. She has been working in Denver under residency as well as teaching ever since.

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Cindy Sherman…Xtra Credit

First of all, I love Cindy Sherman. Everything she creates intrigues me visually as well as mentally.  She is such an important figure in the contemporary art world. She has seen multiple decades and with that knowledge she has interpreted various stereotypes depicted in our culture. Sherman only photographs herself. I think that if she wasn’t the central figure it would change the meaning of her artworks. The aspect of identity in Sherman’s work is fascinating. One can’t help but wonder what Cindy Sherman’s actual identity is. This is because you never get to see her as herself. She always depicts certain social stereotypes, usually dealing with feminist ideas. Her work really makes me question the culture that I grow up in and the way she depicts art and film. The “Sex Pictures” is my favorite series by Sherman. In this series she uses prosthetic limbs and other body parts to create her photos. This is her first series that she isn’t the central figure. She places the dolls and prosthetics in sexual positions that are very grotesque and bizarre in nature. These photos are meant to shock and the fact that they are in color definitely helps this. What was Sherman’s motive for creating these photos? Do you think they are only meant to shock, or are they meant to bring up questions dealing with our own sexualities, ideas on pornography, and sex?



Christo Incident

I remember a story my high school art history teacher told the class about one of Christo’s works.  In 1991,  Christo’s Umbrella project had to be immediately taken down because the wind uprooted an umbrella and ended up killing a woman.  Christo ordered all 1,340 yellow umbrellas (located in California) to be taken down. In Japan there were blue umbrellas set up. Christo ordered for them to be taken down as well out of respect for the dead woman. I can’t even imagine the guilt Christo probably felt after this happened. It’s unreal.



Katie Hitch’s Clyfford Still essay

Katie Hitch

Contemporary Art 3539

Clyfford Still Museum

            Clyfford Still was the first out of his New York colleagues to break through to a new radical style of painting devoid of obvious subject matter. This movement that he spearheaded became known as abstract expressionism, and it developed after the Second World War.  Still diverged from representational painting during 1938 and 1942, while Pollock, Rothko, and Motherwell still painted “figurative-surrealist styles” into the late 40’s.  This style of painting can also be called Colorfield painting, and it emerged in New York City during the 1940s and 1950s. These artists created abstract colorful paintings that were meant to absorb the viewers into a field of breathing color, lines, and shapes. Action painting, another term used to describe the art blossoming during this movement, consisted of dripping lines, rhythmic brush strokes, and painting as part of a performance. Artists like Still, tried to separate their art from the European artists by creating a movement that was their very own, abstract expressionism.

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Katie Hitch Intellectual Profile

1)I am a Film and Art History major.  I adore making and watching movies. Some of my favorite filmmakers are Jan Svankmajer, Gregg Araki, John Waters, Alejandro Jodorowsky, and Harmony Korine.

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Katie Hitch Smith Paragraph

The article What is Contemporary Art by Terry Smith begins by explaining that contemporary art “is the institutionalized network through which the art of today presents itself to itself and to its interested audiences all over the world.” He then goes on to say that unlike historical art (which has more of an elitist crowd), contemporary art is much more available today then it was in the 1970’s. Contemporary art is blossoming in both new and old economies, which is supported by the availability of technology . A lot of this has to do with the fact that the audience is larger and more and more people are purchasing contemporary art. During the early 2000’s many projects to build contemporary art museums around the world went on hold, and didn’t really commence until quite recently. Some of the most important aspects that can be gained from reading Smith’s article is that contemporary art 1) must be filled with a detailed knowledge of art history, 2) is globalizing,  3) and a category of its own (distinct from Modern/postmodern art).

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