Modern Art History Exam 4

Joseph Kosuth, One and Three Chair, 1965, Postmodernism

art should not at all be what it looks like idea behind it is key formalism is not pursued one and three series rejection of formalism through this photo, real, and definition wrapped up in symbiotics - investigation into how meaning may be constructed or even deconstructed the physical chair is the referent (from the real world) which seems less important than its representation by a sign compromising a signifier, and a signified the aesthetics of formal quality and the depiction of reality have nothing to do with true art, which finds its validation in art activities themselves, not in the physical products of those activities

Thomas Hart Benton, America Today, 1930, American Regionalism.

curvilinear stylized art nouveau from Missouri commission from NY -new school of social research any progressive thought in this? -portraying the workers -black and white workers side by side universally together was utopian modern life, rural and urban life

Fred Wilson, Mining the Museum, 1992 -3, Postmodernism

critiquing the museum and what they filter in/out gold ball, busts - probably not from baltimore or Maryland black podiums represent important black Marylanders, who were not included in the museum at all dumbstruck by what they were not telling silverware -tons of it in historical ware -including slave shackles -juxtaposition made jarringly apparent how the traditional bias for exhibiting esthetically pleasing, "high-end" items excludes displeasing aspects of the historical record things not displayed, why aren't they? critiquing what the museum's not showing in an innovative way nothing about black Maryland paintings, don't notice black children unless you're looking, they fade into the backgorund includes recorded voices at the time (of those not being represented) -out of vases or paitnings -original paintings but just changed the spotlight -By shining spotlights on the blacks in a few of these pictures, and by adding audio tapes that pretend to speak in their voices, the artist has returned to these forgotten characters a measure of individuality and dignity -compelled viewers to regard them not as pictorial adornments but as real people -In the case of a group portrait of the children of Commodore John Daniel Daniels, from around 1825, he has even managed to track down the identities of the slaves in the scene, and displayed their names prominently on a gallery wall. - it does more than bear witness to injustice and remind visitors, once again, of the subjectivity of historical truth -The installation also pays homage to black luminaries like the mathematician and astronomer Benjamin Banneker and the painter Joshua Johnson, and to the plain-spoken handiwork of anonymous black artisans dollhouse before it was stereotypical -white women in bedroom, white man in parlor -black man in door, black woman in kitchen with kids changed it to highlight this stereotyping Benjamin Bannekker Astronomy Journal (1790-1806) end of it It not only evokes the experiences of blacks and Indians in Maryland; it also suggests how those experiences have routinely been ignored, obscured or otherwise misrepresented at places like this one -- which happens to be located not far from housing projects whose black residents, until this exhibition, rarely visited it. what they put out says a lot, what they don't put out says a lot more

Robert Rauschenberg, Signs, 1970, Pop Art/Neo-Dada

expression of death and hope astronaut from moon walk- hope & optimism hippies and Janis vietnam wars death of creative community (janis) - death of hope silkscreen political influx

action painting

feel /read their movements they made as they work so process - oriented energy while creating is recorded on the canvas the experience being reflected

Cindy Sherman, Untitled (second one), 2008, Postmodernism

film star characters grown up, but back in times 20s stars in 50 or 60s, stuck in their own time highlights aging and signs of it, wrinkled hands and crow's feet her dealing with her own aging perhaps?

Gorky, Garden in Sochi, 1943, Abstract Expressionism.

transition b/w biomorphic surrealism and abstract expressionism image from his childhood garden w/a myth, in Armenia -women rub breasts on rock, strips of fabric not fully abstracted, some clear here -women and breasts -shapes of them, the idea of these figures -legs, hips Armenian stripper different ideas from childhood create art that reflects own state of mind abstract composition inspired by the artist's childhood memories of his native Armenia

Georgia O'Keeffe, Evening Star III, 1917

unpainted background

Rothko, Black on Gray, 1969, Abstract Expressionism.

used abstract means to express universal human emotions, earnestly striving to create an art of awe-inspiring intensity for a secular world drained of color and choked by a white border—rather than suggesting the free-floating forms or veiled layers of his earlier work The extreme contrast of light and dark evokes a sadness that played out like a psychological drama, both mythic and tragic.

Margaret Bourke-White, Louisville Flood Victims, 1938, Social Realism.

In January 1937, the swollen banks of the Ohio River flooded Louisville, Kentucky, and its surrounding areas. With one hour's notice, photojournalist Margaret Bourke-White caught the next plane to Louisville. She photographed the city from makeshift rafts, recording one of the largest natural disasters in American history for Life magazine, where she was a staff photographer. The Louisville Flood shows African-Americans lined up outside a flood relief agency. In striking contrast to their grim faces, the billboard for the National Association of Manufacturers above them depicts a smiling white family of four riding in a car, under a banner reading "World's Highest Standard of Living. There's no way like the American Way." As a powerful depiction of the gap between the propagandist representation of American life and the economic hardship faced by minorities and the poor, the image has had a long afterlife in the history of photography. waiting in a food line american way applies to white middle class very few were insulated from Great Depression most were poverty striken norman rockwell was one of the most popular artists at the time

Jackson Pollock (1912-1956)

Martha Holmes, Jackson Pollock Painting in his Studio, Springs, NY (1949) http://www.nga.gov/feature/pollock/artist1.shtm temper, drinking, died in a drunk driving accident peed in a fire got first exhibit at art of the century

Arthur Dove, Abstraction No. 2, 1910-17.

apparently 1st one produced in the US (abstract) wild colors, brushstrokes inspired & pulled from so many other European movements american artists had a lack of training (geographically spread), teaching self US is conservative -> translates into art americans thought abstraction was degenerate naturalism had such a hold in the US

Barbara Kruger, The Marriage of Murder and Suicide, 1988, postmodernism

apple -garden of eden man eating/giving it/ taking back the idea that everything is a woman's fault who's at fault? critiques advertising field being dominated by men -men are feeding us information clothing in 80s was much much more casual in the last 30 years highlights destructive male/female relations going all the way back to Adam and eve recomplicated by the possibility that it is a man who offers instead of accepting the apple, poisoned by chemicals flowing from scientific labs controlled by men and sold by the come-on tactics of advertising

Jaspar Johns, Painted Bronze, 1960, Pop Art/Neo-Dada

cast brushes in bronze painstakingly created like the original tools -which looks at first glance like a Duchampian ready-made, but on closer examination is a hand-painted bronze recreation of a painter's age-old tools -closes the gap between the thing and its representation and seems to make art into the intention to make an object, any object, into art

Jasper Johns, Target with Four Faces and Target with Plaster Casts, 1955, Pop Art

combination of medium everyday object into fine art? interested in how people react to certain objects/ things -the common shooting target is one of the many "things the mind already knows." -using familiar objects "gives me room to work on other levels" -though closely linked with the acts of looking and aiming, the concentric circles of the artist's version are obscured and the surface made tactile with encaustic—pigment mixed with beeswax—on collage -Mounted above, four plaster casts taken from a single model over a period of several months are arranged in non sequential order -A hinged wooden lid offers the option of shutting away the small niches that hold these cropped, eyeless faces. -This merging of mediums reinforced the three-dimensional object-ness of the paintings and was the Neo-Dada response to the recent progression of abstraction away from representation to an ever more reduced imagery that merely reiterated the surface of the canvas.

Joseph Kosuth, Art as Idea as Idea, 1966, Postmodernism.

definition of art - did series of definitions related to art concept should be primary focus early conceptualism -rejecting image completely in favor of text

Jeff Koons, Michael Jackson and Bubbles, 1988, Postmodernism.

embraces consumerist culture; opulence and luxury idea one point a commodity trader some say he critiques opulence/culture popularity @ time against it or for it? actually made by Italian figurine makers, who normally did religious figures about life size all black color is white; from the iconic photo of MJ could be referencing his actual physical transformation? -vertiglia, skin bleach -he wants to be white? or was it that his music bridge the gap b/w the races but did Koons put thought into it? gilded gold leaf -art as a commodity links to this style- rococo very red lips -has a lot of social connotation -like with black face shows, painted on red lips way too big -minstral shows -artist would never comment on this being a parody of these and black face -people said MJ was trying to wear white face sometimes postmodern artists try to deconstruct identity narcissim continues to employ market tactics of the most aggressive sort

Lichtenstein, Little Big Picture, 1965, Pop Art

enlarges dots comic look to depict painterly brush strokes quite attentive to the "physical qualities of the brushstroke" relative to other Brushstrokes series works. It is an example of the use of overlapping forms rather than a single form or distinct adjacent forms, which seems to create a more dynamic feel to the shallow space. However, since Lichtenstein does not uses shading or contrast, the monochromatic strokes with just bold black outlines are void of certain elements of depth. The work contains no narrative, leaving just the comic book form of Benday dots presented according to a plotted outline his result is completely flat, without any trace of the brushstroke or the artist's hand. Meanwhile, the work references mechanical printing with the Ben-Day dots background, which enables Lichtenstein to parody his predecessors and make a "powerful abstract composition".

Joseph Beuys, Coyote: I like America and America Likes Me, 1974, Postmodernism.

extended in WWII and shot down and rescued by band of indigenous people in Crimea stayed in felt tent, fat on wounds, rich dairy diet of fats attributes them to saving his life tries to heal US much like them spent 7 days with animal this animal is a reference to American -also in native american folklore -and folklore conversation together - present him with ojbects at times and see his reaction public was separate by chian fence thought art could transform a life; change consciousness of a viewer so inaccessible to all of US very conceptual, is it a direct message? are they so far removed from the world/ too far in the art world? felt, newspapers

Cindy Sherman, Untitled, 2008, Postmodernism

film star characters grown up, but back in times 20s stars in 50 or 60s, stuck in their own time highlights aging and signs of it, wrinkled hands and crow's feet her dealing with her own aging perhaps?

Edward Hopper, Nighthawks, 1942, Social Realism.

fluorescent lights had just come into use in the early 1940s, and the all-night diner emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another. loneliness of a big city

Art of This Century opened 1942

gallery with just 20th century art opened by Peggy Guggenheim The gallery exhibited important modern art until it closed in 1947, when Guggenheim returned to Europe. The gallery showcased works by established European artists with an emphasis on Surrealism, and also exhibited the works of lesser known American artists, often for the first time. The space became both a meeting place and exhibition nexus for exiled European artists and young emerging Americans and as such was one of the major crucibles for the emergence of the New York School four distinct spaces: the Abstract Gallery, the Surrealist Gallery, the Kinetic Gallery, and the Daylight Gallery.

Barbara Kruger, I Shop Therefore I Am, 1987, Postmodernism.

had background in advertising text and images to critique it resemble the Time Life covers -familiar and nostalgic (even though they already were doing color pictures) -black and white dealing with consumerism driven by ads prompted by Walter Benjamin -paris shop windows in 1930s, concerned by consumerists -the only culture is what you buy

Hans Hofmann and John D. Graham

really influenced teacher and taught painting should have depth & acknowledge 2D of it emotional, primordial painting "throbbing events of the unconscious mind" thought lessness, intuitive, at-the-moment process H - taught that the painter should handle his means, drawing and color, that the finished picture would evoke a sense of depth while also affirming the 2D of its actual surface "A picture must be made with feeling not with knowing." "the possibilities of the medium must be sense" G - Russian artist, in NY since 1920 "re-establish a lost contact with the unconscious...with the primordial racial past...in order to bring to the conscious mind the throbbing events of the unconscious mind." recommended automatic writing, that led Gorky, de Kooning, Gottlieb and Pollock to discover their distinct styles of painterly drawing

Time, December 1934 featuring a self portrait by Thomas Hart Benton.

regionalism mural painter 1st mural commission 1933 wanted to rival Mexican murals regionalism became popular started as a modernist (like cubism) spoke of it distastefully

The Conservative Reaction: Regionalism and Social Realism, and its Mexican Roots

reject abstraction day to day US life being depicted -commeniting on labor, etc

Conceptualism and Neo Conceptualism

rejected entire idea of form planning and decisions should come before all else targeted minimalism neo - was less concerned with the anti materials disdiain for the ar tojbect and its commodificiaton, as long as the milking of both might llso appear to be a strategy of ironic sen-up (originated with Walter Benjamin) would be as visually stunning as the original conceptualism had been visually destitute

Robert Rauschenberg, Monogram, 1959, Pop Art/Neo-Dada

scavenged around the city, garbage painting and placed gat on, tire on goat, sprinkled garbage and painted goat's face in way that directly quotes Abstract Expressionism what does this mean? he refused to interpret his own work could be his own sexuality wanted viewers to interpret for themselves (beginnings of PoMo?) polyvocal- many voices -his credo, a line drawn in the psychic sands of American sexual and cultural values -It is a love letter, a death threat, and a ransom note -carving his name or this into art history.

Cindy Sherman, Untitled Film Still #21, 1978, Postmodernism.

smaller b&w pictures non descriptive starlet suggest how self identity is often an unstable compromise between social dictates and personal intention photographic portraiture is both intensely grounded in the present while it extends long traditions in art that force the audience to reconsider common stereotypes and cultural assumptions held concerns in the culture as a whole, about the role of mass media in our lives, and about the ways in which we shape our personal identities. Here, Sherman takes on the role of the small-town girl just happening upon the Big City. She is, typically, at first suspicious of the metropolitan lights and shadows, only to be eventually seduced by its undeniable attractions

Performance

takes over the US

Lichtenstein, Wham!, 1963, Pop Art

takes pop art imagery and transforms it took cartoons & DC comics little boy's obsession with war attracted by the way highly emotional subject matter could be depicted using detached techniques Transferring this to a painting context, the artist could present powerfully charged scenes in an impersonal manner, leaving the viewer to decipher meanings for themselves Oil on canvas

symbiotics

theory conceptualists embrace how signs make meaning applied to art to make its meaning started in 1800 by two men Charles Sanders Pierce and Dejour

Gorky, The Artist and his Mother, 1930-31.

transition artist traumatic life, mom died in his arms at 15 persecuted three years later, during the Ottoman Turk campaign of genocide against the Armenians, him and his mother, and his younger sister all survived a death march, but his mother never recovered her health. She died in 1919 from starvation. The following year, the fifteen-year-old Gorky immigrated to the United States with his sister. In 1926, he began work on this and another version now in the National Gallery of Art. Gorky, however, did not simply copy the photograph, but painted a meditation on remembrance: the white apron worn by Gorky's mother makes her appear statue-like, and other areas of the painting seem, like memory itself, unfinished and mutable. The figures' searching gazes lend the composition psychological intensity, eliciting sympathy yet avoiding outright pathos or sentimentality.

Postmodernism

word modernism fell out of favor (minimalism - just formalism; stripes, dots, circles) ate up with it of consumerism and ads and tv

New York School

a group of artists, 30s, 40s, 50s, some 60s an environment similar to Paris late night hang out like cafes creating a style that is about personal expressionism , are distinct and different rock star artist -big persona, partying, drinking most progressive loose-knit group of American painters were called the New York school since most of them worked in the city.

signifier-signified

a percept in the form of an image, word, colors, etc vs. a concept or definition how words make meanings complexity here Kosuth plays with this -how concept is an important part -goes further with it

Andy Warhol (1928-1987) Self Portrait (1967)

achieved celeb status Studio: the Factory -location of famous parties -in foil, sterile nature assistants, prints images of things familiar to us; creating some more popular and accessible in a 1964 interview with Bruce Glaser, Warhol insisted that Pop appeals to a larger audience, stating that people loved it because the subject matter was familiar: "it looks like something they know and see every day."

Frida Kahlo

also depicts national pride; hated the US turbulent relationship with Rivera her art is very autobiographical every facet of her life: miscarriage, hosipital, family, sis, Diego her distinctive look -stand out -embrace her indigenious (her dad - german, mom- prob European) -clothing -mother was 1/2 or 1/4 indigenous

The Mexico's Nationalism

Frida Kahlo, and Diego Rivera Diego-inspiration stylistically and his national pride give voice to indigenous & laborers

Thomas Hart Benton (1889-1975)

"There is more meaning in a windmill, a junk heap and a Rotarian than Notre Dame, or the Parthenon." "It took me 10 years to get all of the modernist dirt out of my system." -Thomas Heart Benton

De Kooning, Woman I, 1950-52, Abstract Expressionism.

"Art never seems to make me peaceful or pure... I do not think of inside or outside—or of art in general—as a situation of comfort...Some painters, including myself, are too nervous to find out where they ought to sit. They do not want to 'sit in style,' Rather, they have found that painting... any style of painting ... to be painting at all... is a way of living today. That is where the form lies." what he's most known for criticized for repreesented women added weird things on canvas and take off diving not in end result usually interested in cubism and depiction of space solid figures? not really, outlines of form - head, thigh, breast his "no environment" paintings no space between plane and figure action is important here, see his movement the energy is clear criticized b/c it was an aggressive depiction of women; masochistic attitudes "woman of willeadorf" 24,000 BCE took an unusually long time to create making numerous preliminary studies and repainting the work repeatedly. The hulking, wild-eyed subject draws upon an amalgam of female archetypes, from Paleolithic fertility goddesses to contemporary pin-up girls. Her threatening stare and ferocious grin are heightened by his aggressive brushwork and frantic paint application. Combining voluptuousness and menace reflects the age-old cultural ambivalence between reverence for and fear of the power of the feminine

Rothko, No. 14, 1961, Abstract Expressionism.

"I am not interested in relationships of color or form.. I am interested only in expressing the basic human emotions—tragedy, ecstasy, doom, and so on—and the fact that lots of people break down and cry when confronted with my pictures shows that I communicate with those basic human emotions.. And if you, as you say, are moved only by their color relationships, then you miss the point!" color field imagery gets in the way painting can reflect universal ideals said de Kooning was sadistic -by staining the shapes directly into unprimed duck and by bleeding their blurred contours almost the the edges of a canvas, he etherealized the forms and fused them to the flatness and format of the canvas this technique carried out more with sponges and rags than with brushes, not only had the hallucinating effect of re-materializing the immaterial; it also endowed the total field with the holism and indivisibility of the classic Ab. expressionist composition expressing basic human emotions - tragedy, ecstasy, doom etc

Robert Rauschenberg, Bed, 1955, Pop-Art/Neo-Dada.

"Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two." combine - not a painting not a sculpture; between painting and life painting and ran out of canvas artist's term for his technique of attaching found objects, such as tires or old furniture, to a traditional canvas support. quilt and pillow case; the stuff of a real bed -incredibly personal, but also absurdist In this work, he took a well-worn pillow, sheet, and quilt, scribbled on them with pencil, and splashed them with paint in a style similar to that of Abstract Expressionist "drip" painter Jackson Pollock. (mocking him?) bed is the internal state of the artist? let me give you it - his bed, still made, becomes a sort of intimate self-portrait consistent with his assertion that "painting relates to both art and life...[and] I try to act in that gap between the two." neo dada -picking up the flag of Duchamp assisted readymade Duchamp manifested here, but he brings handcrafted -interested in irony, playfulness -in reconstructing of vocabulary, of meaning Duchamp did take on seriousness of Western Art, and then this is taking on seriousness of abstract expressionism more postmodern attitude, hyperawareness, shift of sincerity to irony the drip painting was the true authentic, but now a step back from that

arthur danto on the artworld

"What in the end makes the difference between a Brillo box and a work of art consisting of a Brillo box is a certain theory of art. It is theory that takes it up into the world of art, and keeps it from collapsing into the real object which it is. [Warhol's Brillo boxes] could not have been art fifty years ago. The world has to be ready for certain things, the art world no less than the real one. It is the role of artistic theories, these days as always, to make the art world, and art, possible." Of course, there will go on being art-making. But art-makers, living in what I like to call the post-historical period of art, will bring into existence works which lack the historical importance or meaning we have for a long time come to expect [...] The story comes to an end, but not the characters, who live on, happily ever after doing whatever they do in their post-narrational insignificance [...] The age of pluralism is upon us...when one direction is as good as as another. saw and wrote several works the theory of art makes it a work of art the world has to be ready for one (base of Postmodern art) institution of art itself based on getting critiqued by aritsts

Alfred Stiglitz, Gallery 291

"honesty of aim, honesty of self expression, honesty of revolt against the autocracy of convention" brought in European artists and showed to usher modernism showed O'Keefe, Stella required -honesty of aim?

Andy Warhol, Brillo Boxes, 1964, Pop Art

3D objects, also did corn flakes, box-shaped how they were perfectly lined up in store inspired him plywood and screen print -precise copies of commercial packaging. -While they fulfill the idea that art should imitate life, they also raise questions about how we identify and value something as art. -If Warhol transformed a mundane commercial product into a work of art, how did that transformation happen? -Considering Warhol made numerous Brillo Boxes and sold them to art collectors and museums, his can also be considered mass-produced consumer goods.

Andy Warhol, Campbell's Soup Cans, 1962, Pop Art

Each canvas 20 x 16" (50.8 x 40.6 cm) Synthetic polymer paint on thirty-two canvases. generally received pretty well not as much today, but we forget the point of it advertising was the ever present images on TV, ads how has the time affected the piece's weight? at the time, innovative and new, but now its role has changed drastically he is recognizable by all art market starting to become what it is today, a new currency to the hyper rich can this be art?

Abstract Expressionism

Pollock, de Kooning, Rothko sometimes considered the 1st truly american art movement center for art world shifts from paris to NY; after all these events

Richard Hamilton, Just What Is It That Makes Today's Homes So Different, So Appealing?, 1956, Pop Art.

UK, collage reference's popular home magazines, what to buy and how modern (american) living room carved ham, magazine ads; all advertising images talking about American imagery, commenting on American society what is American culture? collage and imagery influence this

Charles Demuth, I Saw the Figure 5 in Gold, 1928

The Great Figure BY WILLIAM CARLOS WILLIAMS Among the rain and lights I saw the figure 5 in gold on a red firetruck moving tense unheeded to gong clangs siren howls and wheels rumbling through the dark city His delicate watercolors of fruits and flowers are lyrical evocations of nature, while his paintings of the modern urban and industrial landscape, on the other hand, are tightly controlled, hard, and exact. Aptly called Precisionist, these works show the influence of European Cubism and Futurism, but their sense of scale and directness of expression seem entirely American portrait of the poet William Carlos williams? (aka bill) depicting his poem firetruck; head lights or street lights direction is less important zooming past-road, lights, buildings, light strips angling speed & motion - formalinear perspective, lines receding futurist/cubist derived from Euro model of abstraction US is at its adolescence from modern art right now

graffiti art

Ultimate postmodernist movement: instant painting, instant fame. mediums: stencil art, graffiti terrorism, public art, politically charged messages, roots in mexican muralism

Jaspar Johns, Three Flags, 1959, Pop Art/Neo-Dada

hand-painted to look just like it, but the texture and brushwork make it different -this execution and composition elicit close inspection by viewer -draws attention to process of painter how do people react to it? -re imaged something we consistently see, something that would raise all kinds of meanings when we see it -it was seen and not looked at, not examined opposite of readymade (opposite of Duchamp) -Duchamp did no handcraft, but this was painstakingly handcrafting an everyday object -mixture of pigment suspended in warm wax that congeals as each stroke is applied; the resulting accumulation of discrete marks creates a sensuous, almost sculptural surface. -The work's structural arrangement adds to its complexity. -each successively diminished in scale by about twenty-five percent, projects outward (contradicting classical perspective, in which objects appear to recede from the viewer's vantage point) -by shifting the visual emphasis from the emblematic meaning to the geometric patterns and variegated texture of the picture surface and the canvas structure, the artist explores the boundary between abstraction and representation. -this piece allowed him to "go beyond the limits of the flag, and to have different canvas space."

Fred Wilson, Guarded View, 1991, Postmodernism

he does his work out of love uniforms of guards from a bunch of different museums the way that they are viewed in museums invisible facets of museums diverse workers are only of the lower level __ _____ speaks! -a direct result of Duchamp -ready made or assisted readymade -aggressively confronts viewers with four black headless mannequins dressed as museum guards. -Each figure wears a uniform, dating to the early 1990s, from one of four New York City cultural institutions: the Metropolitan Museum of Art, the Jewish Museum, the Museum of Modern Art, and the Whitney Museum of American Art. -Despite this specificity, the faceless mannequins underscore the anonymity expected of security personnel, who are tasked with protecting art and the public while remaining inconspicuous and out of view. -the artist himself worked as a museum guard in college, and explained: "[There's] something funny about being a guard in a museum. You're on display but you're also invisible." -challenges this dynamic by placing these ordinarily unnoticed figures at the center of our attention, pointing to the hidden power relations and social codes that structure our experience of museums -the artist's inanimate guards themselves become sculpture—figures that we are meant to observe but are incapable of observing us.

Armory Show 1913

http://xroads.virginia.edu/~museum/armory/galleries.html modernism in US was slow the US had a very long tradition of naturalism that dominated since beginning a group of artists frustrated w/academic way of art realism dominated in America (Singer Sargent, Singleton Copley, obsessed w/realism that he paints impossible things Wilson Peale does he paint everyone w/this face? show was called pathological, anarchist french painters 1 Kadinsky, 1 cubist some american art (derivative) "we have no innovators here"

Marina Abramovic, Rhythm 0, Museum of Modern Art, 1974, Post Modernism.

https://vimeo.com/71952791 tries to engage public/audience trend of interaction with viewer in performance art always trying to push her own body and mind letting them have her own control her mother was very distant -constantly trying to make a connection w/someone else?

Gilbert and George, Singing Sculpture, Performed March 1970, Postmodernism.

https://www.youtube.com/watch?v=CsuHpi2gcGY reacting to their teacher who was a sculptor at St. Martin's paint hands and head to be scultupre like (more metallic like in first one) sing and dance on pedestal mimick old victorian dance hall suits- macho exaggeration (and moving) to counteract this stereotype

Marina Abramovic, The Artist is Present, Museum of Modern Art, 2010, Postmodernism.

https://www.youtube.com/watch?v=OS0Tg0IjCp4 sit for 8 hours a day, trying to make a connection with her her and Ulay's moment together is moving, but is it authentic? Marina leans forward and closes her eyes, while the next sojourner steps forward and takes the empty seat. Marina sits up and another staring contest commence

Frida Kahlo, Self Portrait on the Boarder of Mexico and the United States, 1932, Mexican Modernism.

in Detroit with Diego frilly dress right side -US; Ford bc they commissioned Diego left side - pyramid, sculptures (Diego and her were big collectors of pre columbian art; gained attention for this), western Mexican figurine sun & moon she is standing on top of machine that connects to plants & machinery on right powering them or being powered by them longed to get back home -MX City -indigenous towns as well she was a marxist a s well didn't like capitalism skull - skull racks traditional heritage violent sun - not negative in the pre columbian outlook

minimalism

just formalism; stripes, dots, circles the language adopted by the first anti minimalists was verbal, preferred for it capacity to imparrt ideas and once presented in teh context of an art gallery, to become daringly visual. this ushere din conceptualism , broughty by Kosuth other conceptualists would sabotage minimalists stability by replicating its geometries in materials vulnerable to the eroding forces of time and time an art movement in sculpture and painting that began in the 1950s and emphasized extreme simplification of form and color

Cindy Sherman, Untitled #216, 1989, Postmodernism.

mimics paintings by old masters prosthetics are clearly obvious questions idea of authenticity not based off things she's actually seen, but mimicking photographs of pieces "I worked out of books, with reproductions. It's an aspect of photography I appreciate conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone."

Mark Tansey, A Short History of Modernist Painting, 1982, Postmodernism

post minimal to PoMo painting dealing with Danto's critique far left- washing window, painting now longer window to world middle- Greenberg's formalism, flatness of painting right- art is constantly refining itself; artist has become the subject over its work (AE and pop art, Warhol) end is fuzzy has it ended? most likely mid 90s (2000s not this at least to Beth) form no longer trumps content artists in some cases quit caring about form at all

Pollock, Autumn Rhythm, 1950, Abstract Expressionism.

monumental scale is a big part of this time parallel to the new phase in america everything's bigger in america focus on the individual became a massive celeb full page spread in Life Magazine at the height canvas that lay flat on the floor rather than propped on an easel. Poured, dripped, dribbled, scumbled, flicked, and splattered, the pigment was applied in the most unorthodox means there's no central point of focus, no hierarchy of elements in this allover composition in which every bit of the surface is equally significant applying the paint and working from all four sides it assumes the scale of an environment, enveloping both for the artist as he created it and for viewers who confront it. The work is a record of its process of coming-into-being. Its dynamic visual rhythms and sensations-buoyant, heavy, graceful, arcing, swirling, pooling lines of color-are direct evidence of the very physical choreography of applying the paint with the artist's new methods. Spontaneity was a critical element. But lack of premeditation should not be confused with ceding control; as he stated, "I can control the flow of paint: there is no accident." as for the Abstract Expressionists in general, art had to convey significant or revelatory content becoming more simple in compositions, couldn't fully develop it before he died

Edward Hopper, New York Movie, 1939, Social Realism.

more critical representations of modern life the isolations ambiguity here, up to intrepretation

Grant Wood, American Gothic, 1930, American Regionalism.

more satirical inspo from felemsh Renaissance painters - serious stiff figures staring at us a portrait of what he considers to be the backbone Iowa- his home gothic window, added in, matches faces religious devotion, like rural people may have stoic sharp commentary on midwest clothing like 10 type photos in how serious it is, its humorous def interested in honoring him rather than making fun, but he does tow that line positive statement made about their work ethic - apron, overalls, hay pick tendril of hair couldn't bother to fix it his dentist and his sister

Joseph Stella, Battle of Lights Coney Island, 1913.

most intense arabesque ... [of the] surging crowd and the revolving machines generating ... violent, dangerous pleasures." one of the abstracts in America, one of few brought futurism to US inspired by futurists dacschand with feet moving, Italian futurist piece movement of theme park, roller coaster white thin line explosive lights moving around, carnival fair scene varies his style throughout his career precionsism violent dangerous pleasure

Georgia O'Keeffe, Black Iris, 1926, american art?

not stylized vaginas, denied this her entire life

Jackson Pollock, Pasiphae, 1943, Abstract Expressionism.

obscure mythology, minotaur's mother little details all over likes to create all over compositions tried to remove all representational influenced by Miró and his surrealism Thomas Hart Benton was one of his teachers all figures close/crammed on edges and on plane, and whirly inspired by growing up in Wyoming

Pop Art

partially a reaction against abstract expressionism making art more accessible, not just to those in the art world more of the general public did this in many ways blend ideas (lines) of high/low culture come from abstract expressionism, and growing body of work by american scholars (Greenberg etc.) not just reading european scholars starts in UK Richard Hamilton

Cindy Sherman, Untitled Film Still #7, 1978, Postmodernism

plays with authenticity and idea of narrative (tells more about ourself than anything else) often involves female stereotypes, are we just those stereotypes? all self-portraits party girl film stills

Cindy Sherman, Untitled Film Still #3, 1978, Postmodernism

plays with authenticity and idea of narrative (tells more about ourself than anything else) often involves female stereotypes, are we just those stereotypes? all self-portraits victim here film stills

Lichtenstein, Drowning Girl, 1963, Pop Art

plays with cropping and popular imagery this popular imagery could hopefully make things more accessible easier to talk about text adds to accessibility hand-painted satire and parody gives free domain the drowning girl's boyfriend appears in the background, clinging to a capsized boat the artist cropped the image dramatically, showing the girl alone, encircled by a threatening wave shortened the caption from "I don't care if I have a cramp!" to the ambiguous "I don't care!" and changed the boyfriend's name working by hand, painstakingly imitated the mechanized process of commercial printing transferred a sketch onto a canvas with the help of a projector then drew in black outlines and filled them with primary colors or with circles, simulating the Ben-day dots used in the mechanical reproduction of images explaining the appeal of comic books, he said, "I was very excited about, and interested in, the highly emotional content yet detached, impersonal handling of love, hate, war, etc. in these cartoon images."