Memory and History are themes often separately considered. Memory does, indeed belong to the individual and History to the group, but through social frameworks they become inextricably linked. When we think about the way in which our lives are so shaped by our social pre-dispositions; age, class, race, gender etc. it becomes apparent that our memories are not separate from others belonging to the same groups.

In his book On Collective Memory Maurice Halbwachs describes the irrelevance of isolating individual memory from the society or groups in which they are formed. ‘Collective memory’ is a notion bringing together both the psychological and sociological ideas surrounding memory. It is a way of describing the connection between the memories of individuals and how our memories are often retrieved or revived through a social context. Halbwachs explains that ‘it is in society that people normally acquire their memories. It is also in society that they recall, reorganise and localise their memories.' (Halbwachs., 'On Collective Memory' P38) ‘On Collective Memory’ provides me with a series of concepts to study in relation to contemporary artworks.

It seems only natural to write about contemporary art in relation to this subject, not least because of the overwhelming amount of artists who respond directly to these ideas. Art is part of the structure on which history is formed and intrinsically makes the connection between the individual and the collective. In today’s society the idea of Collective Memory is probably more relevant than ever before. The common use of photography, mass communication and mass media have taken collective memory to another level, changing the way we view history and thus changing the way we view art. In this way we can understand artists reaction to the notion of collective memory.

During this essay I will be looking at the work of contemporary artists working in a variety of media. The work of Christian Boltanski is of particular relevance, so I will be referring to it in relation to what I would call ‘Images of Memory’ and also ‘Memory and Authenticity’. I will also be looking at Dexter Dalwood’s paintings, Jeremy Deller’s reenactment and Jamie Shovlin’s installation....................................to read more click here

FLUXUS, MARXISM AND ANTI-ESTABLISHMENT THINKING, A DISCUSSION

The desire for artists throughout the twentieth century to react against the grain of the current artistic trends, or to make radical changes to its acceptance in society, is what arguably, has enabled art to remain at the forefront of cultural interest. The reasons for revolt however are fuelled by the social and political climate in which the art is made as well as a desire to reinvent the subject.

In reference to Marxist theory this essay will focus on the way the Fluxus movement reacted to the artistic establishment of the late 1950s and early 1960s, its methods and its reasons for doing so.  Although Fluxus is not a Marxist art movement I will argue that they have a strong relationship due to the face that they where both considered entities within the counter-culture of the prevailing capitalist society of the time.  Marxism was popular due to its association with the radical New Left movement that seethed through college campuses during the 1960s.  Fluxus was based on debate and freedom to the individual and so Fluxus artists, although all anti-establishment, had their own individual preferences to theories and philosophies.  During this essay I will be referencing a number of Fluxus artists in relation to Marxism, but also considering their individual theoretical and philosophical preferences. These artists are Nam June Paik, a Marxist, Yoko Ono who had strong activist tendencies and George Maciunas whose was concerned with more pedagogical issues.  I will be referencing work the specifically work highlights the backlash against the establishment of the 1950s, and its relationship to the political and social climate of the 1960s.

I will be referencing Jeremy Deller, Phil Collins and Mark Wallinger as contemporary artists whose work could describe a relationship, comparison or direct reference to Marxism and Fluxus philosophies.  In terms of considering contemporary culture it will also be relevant to consider other Marxist theories such as Late Capitalism which suggests that the class system is no longer constructed through wealth but through an individuals place in relation to the media............................................to read more click here