BBCD Melbourne Version1 – October, 2012. http://bbcdcomdes.weebly.com/

ARTIST MAY BE THOUGHT OF AS

ARTWORK MAY BE THOUGHT OF AS

WORLD MAY BE REPRESENTED AS

AUDIENCE MAY BE THOUGHT OF

AS SUBJECTIVE

FRAME

Naturally talented, geniuses, or emotionally compelled individuals whose intentions are shaped by the free play of the imagination.

Records of emotional outpourings, highly evocative reminders of personal memories and experiences.

The realm of experience, the imagination, fantasy, dreams, the subconscious.

Viewers who interpret the meaning and value of art in relation to personal associations that can be made.

CULTURAL FRAME

Social agents who are influenced by and contribute to social, economic and political conditions.

Forms of cultural capital that reflect social, community and cultural interests. Artworks can be exchanged, commissioned, purchased, collected, preserved

Shared and competing community interests and issues.

Consumers, patrons, sponsors, collectors, critics, historians, and the public. The value of art lies in its social meaning.

STRUCTURAL FRAME

Those that know about and make use of a formalist language that exists outside of themselves and who represent ideas as a system of signs that communicate meaning.

Symbolic objects that operate within the conventions of a visual language, material forms, motifs representing ideas, communicate meaning.

Codes, symbols and conventions form a commonly understood visual language that acts as a referent of the world.

Visually literate, read art as symbols and signs, meaning is coded within a formal structure of visual language that is read by the audience

POSTMODERN FRAME

Challengers of the prevailing views about what is of value in art, and who use parody, irony and satire to expose power assumptions.

Configurations of previous texts that mimic, appropriate and reinterpret other ideas in art to reveal paradoxical and hidden assumptions about what art is.

The abyss or archive within which texts clash and are subsumed into other texts. The world lacks logical conditions that lead to the reassessment of what is known.

Skeptical agents who are aware of power relations within the artworld that sustain dominant views about art.

The Conceptual Framework and the Frames http://www.boardofstudies.nsw.edu.au

BBCD Melbourne Version1 – October, 2012. http://bbcdcomdes.weebly.com/

ARTIST MAY BE THOUGHT OF AS

ARTWORK MAY BE THOUGHT OF AS

WORLD MAY BE REPRESENTED AS

AUDIENCE MAY BE THOUGHT OF AS

SUBJECTIVE FRAME

(mainly on feelings

and emotions expressed, and

interpretation of the audience.)

Vincent Van Gogh (1853-1890)

Starry night (1889), painted as he looked out of the window of his sanatorium

Van Gogh's world was subject to his mental health issues, his poverty, and his relationships.

Van Gogh's artwork was produced as an artistic impulse, rather than what was considered “fashionable”. Supporters included his brother Theo, and his art dealer Pere Tanguy. Audience increased after his death – although he barely sold any work whilst alive, his paintings now command millions of dollars. Very popular for investment and reproductions.

CULTURAL FRAME

( influence of

differing aspects of culture upon

the artwork, such as race or class

issues, or religion)

Bolshevik (1920) Boris Kustodiev (1878-1927)

“Blockbuster” touring exhibitions, such as “The Impressionists” or “Picasso” are deemed to be “culturally important”.

Manet’s world, 1860s Paris. A combination of changing political, economic and social structures and technologies cause shifts in tastes and traditions in art. A revolt against the authority of the Salon occurs and Manet revolutionises the concept of “the painting”.In 1863 “Le dejeuner sur l'herbe” was famously exhibited in the Salon des Refuses.

The Archibald Prize involves different audiences. Judges (artists, gallery trustees, artworld experts), critics, gallery visitors, documentary makers, an art historian compiling a history of the Archibald Prize.

BBCD Melbourne Version1 – October, 2012. http://bbcdcomdes.weebly.com/

ARTIST MAY BE THOUGHT OF AS

ARTWORK MAY BE THOUGHT OF AS

WORLD MAY BE REPRESENTED AS

AUDIENCE MAY BE THOUGHT OF AS

STRUCTURAL FRAME

( physical

techniques and principles applied to the artwork,

such as medium, overall structure and the use of

symbols)

Ned Kelly (1947) Sidney Nolan’s (1917-1992) uniquely Australian system of signs and conventions uses simplified images to represent the myths and legends of our local history. His narratives of the deeds and fortunes of Ned Kelly are communicated through a recognisable sequence of images.

Still life with a bottle of rum (1911) Pablo Picasso (1881-1973) Cubist artworks follow a convention of using signs referring to aspects of the world that are encoded as fragments. These are often pieces of real objects in the form of collage, or are parts of objects that have been drawn or painted to signify an object that is recognised by visually literate viewers.

The world of the modern architect Frank Lloyd Wright (1867 – 1959) is represented via his convention of form following function that governs the organisation and structure of materials and processes that he used to construct buildings.

Educated and Visually literate, including art and design theorists who interpret and formalise visual codes to clarify artworks into groups, periods, values and processes.

POSTMODERN FRAME (includes

traditionally non-artistic aspects,

such as appropriation, and

a use of humour/irony.)

)

L.H.O.O.Q (1919) Marcel Duchamp (1887-1968)

Michael Jackson and Bubbles (1988) Jeff Koons (1955-) parodies ideas of artist as genius, celebrity, and what is traditionally valued in art.

Historians who revisit past artistic movements with a modern perspective. Contemporary art gallery visitors and critics, those who read contemporary art publications.

Banksy – Cardinal Sin (2011