Benjamin Genocchio On Art Essay Example

statues and sculptures that aimed to instill pride and honor in their respective hometowns. However, the context of site-specific work has evolved, and now outdoor site-specific art can encompass landscaping incorporated with a permanent installation, as well as dance performances in specific areas - all of which challenge conventional notions of art. Site-specific art can involve placing sculptures or various objects strategically to create a unique artwork that becomes intrinsically tied to its location. While some works may be temporary, leaving behind only documentation, they are often highly valued as the ever-changing environment ensures their irreproducibility. Jeanne Claude and Christo notably revolutionized the concept of site-specific artworks by wrapping the environment in projects such as 'Wrapped Coast'. They also famously covered the Reichstag, a political building in Germany, in an aptly titled artwork known as 'Wrapped Reichstag'.

Anish Kapoor, like other postmodern artists, challenges the limits of art through his geometric pieces like 'Leviathan'. Various perspectives were explored in response to this matter, including critical and historical assessments of the 20th century as well as contemporary analyses of artistic practice. Several views acknowledged Duchamp's significance in the emergence of postmodernism and delved into detailed discussions of contemporary examples that connect conventional concepts to bolster their arguments.

In discussions about the use of technology, shifting interpretations and audience responses, as well as the diversity of issues addressed by contemporary artists, responses showed a strong understanding of the conceptual framework. Popular artists mentioned include Cindy Sherman, Yasumasa Morimura, Tracey Emin, Barbara Kruger, Jeff Koons, Damien Hirst, and The Guerrilla Girls. Many responses focused on feminist artists and demonstrated an understanding of how contemporary artists challenge traditional portrayals

of women.

The stronger responses included explanations of both traditional and contemporary practices, along with a thorough examination of notable examples. Some of these responses displayed a good understanding of postmodernism and recognized the postmodern approach highlighted in the quote, demonstrating an impressive comprehension of how artists disrupt established authorities. In today's volatile climate, audiences tend to make pretentious evaluations of artworks because of their ambiguous and uncertain nature. However, historically, site-specific art was intended to exist within a specific location rather than aiming to provoke, as it is often seen in the current cultural atmosphere.

Traditionally, art was regarded as objective. However, it has now evolved into a more subjective expression that adds a layer of depth for the audience to question and be intrigued by. In the past, traditional artworks like Michaelangelo’s ‘David’ were commissioned with the intention of creating something permanent. Nowadays, the purpose of art is to provoke the audience by incorporating ambiguity and uncertainty in thought-provoking and unsettling artworks. Laura Keeble employs ambiguous objects in her artwork to challenge conventional ideas about art by creating satirical works that engage the audience and promote a more conceptual approach instead of conventional art.

Michelangelo Bunarroti, an Italian sculptor and painter from the late 15th Century to the mid-16th Century, created the traditional site-specific sculpture called 'David' (1501-1504). This sculpture was meant to be permanently placed outside Palazzo Vecchio in Florence. Unlike post-modern site-specific works, this marble statue draws inspiration from the biblical story of David and Goliath. It depicts David's victory over the giant Goliath, establishing a connection to the biblical reference.

The sculpture depicts David using a small slingshot to defeat

Goliath, highlighting the importance of David's courage rather than his weapon. The statue holds cultural significance as it symbolizes Florence's desire to overcome larger cities and become more prominent. This artwork is representative of Florence as they saw themselves as underdogs and showcases the strength that underdogs possess. Created from traditional materials like marble, the statue follows the conventions of sculpting.

Laura Keeble, a British artist, employs satire in her artworks to produce captivating and enigmatic pieces that confront conventional perspectives on art. One instance of Keeble's approach is evident in her work titled 'Money makes the world go round', which features a ring of twelve carousel horses positioned outside the Bank of England in London. This creation delves into the contentious subject of wealthy individuals receiving larger bonuses despite their involvement in the global economic crisis. The carousel horses serve as a symbol of a playground, emphasizing the perception of the city as a financial playground.

The carousel horses are symbolizing the fluctuating and unpredictable nature of the stock market. They are also mocking the unstable state of the financial climate. Keeble incorporates carousel horses in her artwork to captivate and engage viewers. Her artwork challenges traditional notions of art by not being displayed in a gallery, not being a religious painting or sculpture, and not being made of conventional materials. Keeble employs humor and irony in her work to bring attention to societal issues. As a form of ridicule towards society's perception of art, Keeble placed a cheap replica of Damien Hirst's diamond skull with trash outside London's White Cube Gallery.

Keeble is critiquing society's valuation of art by symbolically discarding the artwork

in a rubbish bin outside the gallery. The title 'forgot something' invites viewers to consider their own perspectives on art values, as the work can be interpreted in various ways. On Monday, December 21st, 2009, twelve carousel horses were prominently displayed in London's financial district of Bank. This installation commented on the contentious issue of large annual bonuses given to wealthy individuals in the city, some of whom played a role in the economic collapse.

Following Alistair Darling's implementation of the 50% 'super-tax', Laura Keeble, an artist from Southend, created a site-specific artwork outside the Bank of England in London. The installation featured past editions of The Financial Times, lights, and garlands made from replicas of international banknotes. The bucking and galloping horses were positioned on golden poles, encircling the surrounding area.

Keeble's fairground horses mock the volatility of the financial climate, reflecting the ups and downs of the world's stock market. These turbulent times have benefited many city investors. Keeble, renowned for her satirical public interventions, uses humor and irony to address pressing questions. Forgotten Something!? - a sardonic replica of Damien Hirst's diamond skull - was left cast aside with garbage outside London's White Cube Gallery.