Hans Haacke, Seurat's 'Les Poseuses' (small version)발음듣기
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Hans Haacke, Seurat's 'Les Poseuses' (small version)
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(jazz music) [Voiceover] We've been talking about whether or not the art is contained in the object or the art is contained in the things that surround it.발음듣기
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What's really interesting is that in the late 20th century, artists started to make art that was explicitly about the way that society frames a work of art.발음듣기
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One of the great examples of that is by Hans Haacke from 1975, a work of art which takes a small painting by the famous neoimpressionist painter George Seurat.발음듣기
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Everybody knows his painting The Isle of the Grande Jatte, but what Haacke did is he centered his work of art on a small sketch by Seurat and this work of art had gone from the artist's studio through many, many hands until it ended up partially owned by an investment firm and actually put in a bank vault.발음듣기
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It went from being this object in the artist's studio to something that was now in a bank vault, whose price had increased dramatically from something that had no price associated with it when it was first produced as simply a sketch to something that was worth in excess of a million dollars by 1975.발음듣기
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[Voiceover] And Haacke, in his piece of art, or installation, whatever we call it, he took the original piece of art (crosstalk) it was literally a photocopy.발음듣기
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[Voiceover] He didn't have access to the original, because the original was now in a bank vault.발음듣기
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I think that was part of his issue, that now this was something that was out of circulation that had become an investment, as opposed to a work of art that existed in the world.발음듣기
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I struggle a little bit, because at minimum, I'm willing to say that this is definitely interesting.발음듣기
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It feels like something we would do at Khan Academy, in terms of just look at this piece of art and look at who's owned it.발음듣기
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[Voiceover] Exactly, and the reason why, going back to the art, not art, or traditional notions of art, and modern notions of art, this is definitely a very modern notion of art.발음듣기
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[Voiceover] Yes, what I actually really like about it and I feel is, to some degree, almost more consistent than a lot of what we've looked at, is that he did not feel the need to do it on oil and canvas, that he felt that, "Look, that's not a ...발음듣기
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I do like the fact that he just said, "Well, look, if we're just going to go really pushing the envelope, why am I stuck to this mixing paint and all the rest?"발음듣기
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You almost hope that you could have a whole museum of that, of people documenting what these pieces of artwork are, where they've been, all these things that are no longer accessible to the public, and where are they, what's their history.발음듣기
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It's not just through the financial value that's at issue, but it's also the way in which it began as something that was intimate and that was really a stepping stone towards another major finished painting and then becomes almost a simple monetary instrument.발음듣기
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I'm conflicted, because I've asked those same questions when I see that, I've asked you all those same questions.발음듣기
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It's really just pointing out irony or hypocrisy or something, but at the same time, I actually think it's almost really healthy.발음듣기
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Maybe every piece of artwork should have that, where you see it, you actually see where it's been.발음듣기
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It's not a museum or a curatorial perspective, but it's actually seen as the more subjective, radical positioning of an artist.발음듣기
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I know this was the intention of this work of art, but it does fall into curation and a really good curation idea.발음듣기
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[Voiceover] In fact, there's an entire movement that developed from the 1960s through the 70s and 80s, up to the present, which is known as institutional critique, where artists have used art to point out some of the politically more sensitive issues that surround the exhibition of art.발음듣기
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[Voiceover] This is really art as a tool for social commentary, which I guess, is what it always was. (laughing)발음듣기
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[Voiceover] A lot of the discussion that we've had talks about the complex relationship between the market, between institutions, and between art and artists.발음듣기
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[Voiceover] What does it mean even when the market has absorbed the avant-garde to try to remain outside it?발음듣기
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[Voiceover] Now, artists are specifically invited to museums to do a kind of institutional critique.발음듣기
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There's market value in it, there's other kinds of value in it and so there's an inviting of artists into the space of a museum to do that kind of -발음듣기
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