How ART You

Ivree
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What Is Art? Where Does Art History End? This is a vast and enduring question—one that has never received a definitive answer. It troubled German art historians throughout the twentieth century, while the emergence of material and visual culture challenged the established frameworks of iconography and formalism. In 1999, James Cahill revisited this debate through the question of “the end of the history of Chinese art,” bringing the elephant in the room back into view. This podcast moves across ancient objects, painting and ceramics, as well as modern art, contemporary art and popular visual culture. Rather than rushing to define art, we begin with artworks, histories and everyday experiences to ask: What can become art? Who has the authority to determine its value? And when established narratives of art history reach their limits, where might we begin again? -- Hosting provided by SoundOn

Episodes

  1. 5d ago

    One Bodhisattva, Three Bodies: Avalokiteśvara at Alchi: Eleven Heads, Twenty Two Arms and Three Versions of Compassion

    Why are there three depictions of the eleven-headed, twenty-two-armed Avalokiteśvara in a single monument and why are they white, red and blue? In this episode of How Art U, we explore the three Avalokiteśvara images at Alchi. Their unusual forms, colours and placement invite us to look beyond repetition: how did patrons and artists use one deity to give compassion three distinct visual expressions? -- Hosting provided by SoundOn

  2. Sep 25

    Made in China, Made for the Straits: The Story of Peranakan Porcelain with Benjamin

    A teapot might be made in China, ordered through Shanghai, and used at a wedding in Singapore. So where does its story belong? In this episode of How Art You, I speaks with Benjamin about Peranakan porcelain and the people who shaped it. From wedding tea ceremonies to afternoon tea, they explore how different ways of drinking tea influenced the forms and designs of these objects and why “made in China” tells only part of their story. -- Hosting provided by SoundOn

  3. Sep 20

    Too Beautiful to Use? When a Tea Bowl Becomes Art with Julius

    A tea bowl can sell for more than £10,000, but if you owned one, would you actually dare to drink from it? Originally made as an everyday object, a tea bowl can become a work of art displayed behind glass because of its age, craftsmanship, maker and market value. When an object becomes too precious to use, is it a successful work of art or a tea bowl that has lost its purpose? In this episode, we explore Japanese tea bowls through the aesthetics of wabi-sabi, kintsugi and imperfection. Can something deliberately made to look irregular still feel natural? Can a golden repair make an ordinary bowl more valuable? And when an aesthetic rooted in simplicity and restraint becomes a luxury lifestyle, are we buying the object itself, the artist’s name or a carefully constructed idea of authenticity? Ultimately, we return to one simple question: if you owned an expensive tea bowl, would you keep it safely in a display case or would you actually use it to drink tea? -- Hosting provided by SoundOn

  4. Sep 18

    Is a Thousand-Year-Old Ceramic Really More Valuable Than Contemporary Ceramics? with Julius

    Imagine two objects placed side by side. One is an ancient Chinese ceramic made a thousand years ago, with no known maker and perhaps even a few cracks or chips. The other is a newly completed work by a contemporary artist, supported by a fully developed artistic concept. Which one is more valuable? The value of ancient Chinese ceramics is often determined by age, kiln, rarity, craftsmanship and provenance. Contemporary ceramics, meanwhile, may derive their value from the artist’s ideas, distinctive visual language, and recognition within the gallery and art-market system. Although both are made from clay, they may operate within two entirely different systems of value. In this episode, we move from the unpredictable glaze effects, crackled surfaces and imperfections of Song ceramics to contemporary artists who deliberately allow their works to collapse, crack or become distorted. Why is a crack in an ancient ceramic celebrated as “the beauty of age,” while the same feature in a contemporary work might be dismissed as poor craftsmanship? If we removed the museum labels and the artists’ names, could we still tell which object was more valuable? Perhaps the more interesting question is not whether ancient or contemporary ceramics are superior, but why we are so willing to embrace the imperfections of historical objects while struggling to accept those deliberately created by contemporary artists. -- Hosting provided by SoundOn

  • 4 Episodes

About

What Is Art? Where Does Art History End? This is a vast and enduring question—one that has never received a definitive answer. It troubled German art historians throughout the twentieth century, while the emergence of material and visual culture challenged the established frameworks of iconography and formalism. In 1999, James Cahill revisited this debate through the question of “the end of the history of Chinese art,” bringing the elephant in the room back into view. This podcast moves across ancient objects, painting and ceramics, as well as modern art, contemporary art and popular visual culture. Rather than rushing to define art, we begin with artworks, histories and everyday experiences to ask: What can become art? Who has the authority to determine its value? And when established narratives of art history reach their limits, where might we begin again? -- Hosting provided by SoundOn

Information

  • Creator
    Ivree
  • Years Active
    2023 - 2026
  • Episodes
    4
  • Rating
    Clean
  • Copyright
    Copyright ©2023lianglee. All rights reserved.
  • Show Website
    How ART You