Art 101 Sections #5002, 5012, 5022
O’Brien
Fall 2015
Study Guide for Chapter 4
EXAM #1 Monday, October 12
Where appropriate be able to name or recognize simple examples or illustrations
of the terms listed below.
Chapter 4: DERIVING MEANING
Ways to derive meaning—style, medium, FORMAL ANALYSIS, CONTENT, CONTEXT,
WRITING
The triangle: form, content, media work together to create meaning. Context Context
and writing inform content at the level of subtext.

content—meaning; the artwork’s theme or message; consists of subject matter
and subtext(s)

subject matter—the most basic level of content; what you see; all artwork has
content

subtext—underlying meaning of message(s)

iconography—a system of symbols that allow artists and designers to refer to
complex ideas. Originally developed by Panofsky who was first to consider art in
terms of context and content. He used context and worked within a closed
system to assign meaning to symbols. We can often recognize the presence of
iconography in religious artworks (where Panofsky originated iconography) by a
rigid formal appearance. Icon image; graphy writing.

icon—originally used to refer to a religious painting that conveys an original
experience. Panofsky used it to refer to gesture, motif, glance, grouping, etc. that
carries meaning within a specific system. This icon may be repeated in different
artwork or architecture in which case it references the original meaning while also
commenting on its current use. This is where we get the 2 for 1 special in art.

visual metaphor

symbol—is an image or element that stands for or represents some other entity
or concept. Symbols are culturally determined and must be taught. Some
exceptions exist.

context—includes historical, religious, political and social factors of he time, as
well as method of encounter and physical surroundings/location; informs content
at the level of subtext

types of writers/writing—1. critic/art criticism—contemporary art 2. art
historian/research—art of the past and other cultures 3. curator/catalogues and
exhibitions 4. artists writing on their work or the work of others

modernist criticisms—modernist philosophical positions generally present master
narratives that specify the correct way of analyzing an artwork. This group seeks
the relationship between art and Truth. Promotes the idea that fine art is superior
to popular culture.

formalist criticism-emphasizes formal analysis. Originally presented as a way to
appreciate art from other cultures because they did not understand subject
matter or iconography. With Greenberg, recognizable imagery, symbolism, and
narratives were eliminated as detrimental distractions. Looking for pure painting.
Art for art’s sake is its function. Painting was its most significant medium in the
40s and 50s.

ideology-something perpetuated that may not be true or real.

ideological criticism-rooted in writings of Karl Marx, deal with the political
underpinnings of art. According to this position, all art supports some particular
political agenda, cultural structure, or economic/class hierarchy.

psychoanalytic criticism—Freud and Jung; individuals are shaped by their pasts,
unconscious urges, and their social histories.

structuralism-originally applied to the study of language as was semiotics, the
study of signs in written or verbal communication. Idea of a closed system that
includes the author at its head.

Roland Barthes—“Death of the Author” reading/looking is no longer a closed
stable system. Artwork is completed by experiences, etc. the viewer brings to it.

postmodern philosophical positions—PoMo is not a continuation of Modernism,
but a questioning of it. PoMo embraces “little narratives,” stories celebrating
difference, plurality, paradox. Modernism aligns with certainty; PoMo deals with
uncertainty, subjectivity, and ambiguity. Consider the connection between PoMo
and democracy, example: Egypt overthrowing its dictator, etc.

post-structuralism—many meanings; meaning is not a neat equation.

deconstruction—holds that systems that look coherent and “natural” are filled
with stereotypes, myths, and unseen contradictions.

feminist criticism—is concerned with the oppression of groups (esp. women) in
society. Derived from Marxist criticism.


Linda Nochlin—“Why Have There Been No Great Women Artists?”
John Stuart Mill, “ Everything which is usual appears natural.”

feminist goals in art—1. revise how we see historical artworks, 2. break down
barriers to women’s artwork because of media, 3. bring women artists out of
obscurity—Guerilla Girls

visual culture—art and images in film, advertising, Internet, photography,
television. Writings on visual culture attempt to integrate all of the visual
components of contemporary culture.