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DADA

"Dada is a state of mind" claimed Andrew Breton. self proclaimed murders, and war-like in their attack on war and the rottenness of bourgeois society. believed role of artist was "propped" condemns nationalism in perceived acute cultural crisis. attack on norms of materialist culture through pessimistic and absurd measures. contrived disorder though provocative gestures. emerged in NYC, Zurich, Colgne, Hanover, and Paris. term "Dada" doesn't mean anything, it means everything. spans any language or nation. childlike word as its empty of meaning. total incoherence of exhibition. anti-art, optically driven. took influence form French Dandy Jacques Vache, who in an announcement gesture committed suicide. has a clear role in SURREALISM AND POP ART, and NEO DADAISTS. liked the idea of chance within their gestures. wound down by 1924.

The Fauves

"wild beast." major movement 1905-1907, with no manifesto or group dedication. Fauvist primitivism: savagery, wildness, spontaneity. fascination w/ difference and other. major interest of Matisse was rural villages and communities, as they had distant time and place and aura. crude coloring, no need to represent reality in a faithful way. artificiality of color and mask-like nature of portraits are common. PRIMITIVE INFLUENCE and ABSTRACT methods with EXPRESSIONISTIC paint. what was attractive of primitive art was going straight to the material and working with it. term coined by Vauxcelles. they're work shock the autumn paris salons

Edward Burtynsky, Manufacturing #17, Deda Chicken Processing Plant, Dehui City, Jilin Province, China, 2005, C-Print

(Modernity) a poigant documentation of modernity as facilitated through cheap fossil fuels, new technology and standardized work methods. products move on production line which is instrumental for productivity to become efficient. physiologically detrimental. one fatiguing job. Workers are "tool"no craft or skill needed--> Taylorism.

Modern Architecture

1920s- group of buildings that stuck out, flat roofs, block like and linear and angular with large expanses of glass. little to no ornamentation. Absolute rejection of historicism, academism, tradition.Depart from Vienna's Neo-style and Ringstrasse's view. claim end to worn out styles of old. change society by what and how they live. pragmatic approach to design based on functional need. promote collective housing. reinforce materials: steel, concrete where "form Follows Function" (Louis Sullivan) limitless ability of modernity and industry. esp. true in Germany.

Wassily Kandinsky, Glass Painting with Sun, 1910

AB. and the Spiritual and Russian Avant Guarde. (Balue Reiter) Non-geometric. lyrical abstraction = spontaneity that denies academic rule--> romantic notion. 'abstructed from nature'. emphasizing main formal elements of painting line and color, but he is detaching himself from his figurative. from here we go into lines and curves instead of representation. lots of connections to Russia. painted on glass. kaleidoscopic view of life through this --> Baroque movement in Germany, remembering Russian way of life. churches, towers, horses galloping in direction of apocalypse? elements of waves, sky earth all present and luminous.

Jackson Pollock, She-Wolf, 1943

AbEx. Politics and Paint. explore mythological story of romulus and remus in the figuration and subject matter. the she wolf emerges out of the painting, direct influence for the formal Picasso elements; 3/4 face taken form him. autonomy and universal symbolism. "Drawn in heavy black and white lines, the wolf advances leftward. Her body is overlaid with abstract lines and patches, a thick, unreadable calligraphy that spreads throughout the canvas. These hieroglyphic intimations, along with the somber palette and the conjuring of myth, reflect the climate of a period shadowed by war. Intended to approach ultimate human mysteries, they were to be simultaneously meaningful and unknowable." --MoMA. said of it himself "i had to paint it"

Jackson Pollock, Full Fathom Five, 1947

AbEx. Politics and Paint. express feeling rather draw it or symbolize it. Greenberg praises this. use of drip technique; removal of brushstroke physicality from canvas and use human gestures and physical movement around the canvas on the floor to engage and create this. Greensburg suggest Pollock is pushing Cubism tension of flat space and illusion of space in wholly modern way--new optical illusion. "real spacial depth" not space you can enter into but it is purely optical." artist such as Pollock embrace left wing politics in this post War world. Roosevelt's new deal helped artist out. muralistic scale and impact: create mass audience in mind for these works. work is one of Pollock's first "drip" paintings. While its top layers consist of poured lines of black and shiny silver house paint, a large part of the paint's crust was applied by brush and palette knife; the result is a labyrinthine web that reveals an instantaneous unity between multiple crisscrossing and planar forms with no contours. An assortment of detritus, from cigarette butts to coins and a key, are enfolded by the paint. Though many of these items are obscured, they contribute to the painting's dense surface and churning sensation. The title, suggested by Pollock's neighbor, quotes from Shakespeare's The Tempest, wherein Ariel describes a death by shipwreck: "Full fathom five thy father lies / Of his bones are coral made / Those are pearls that were his eyes." --MoMA

Jackson Pollock: Number 1 A 1948, 1948

AbEx. Politics and Paint. started numbering painting so they "would remain neutral"(Krasner) and one would d focus not he painting. also important to look at signature the upper right of his hand prints. worked horizontally on unstretched canvas. handprints provide structure under neath for layers of this poured fluid enamel paint.

Willem de Kooning, Woman I, 1950-52

AbEx. Politics and Paint. took several years to make, not interested in finished product but in the process. he goes back and forth from abstraction to reality. cubist "areas" that blend in and out. brushstroke are overwhelming, they overpower cubist structuring under it. colors are garish, peach pink, green, and silver in both thick matte and thin drippy paint . paint is aggressive and energetic, she is primitive and harsh but also harks back to the Madonna, he was a classically trained artist. "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 de Kooning's aggressive brushwork and frantic paint application. Combining voluptuousness and menace, Woman, I reflects the age-old cultural ambivalence between reverence for and fear of the power of the feminine." --MoMA

František Kupka, Piano Keys-Lake, 1905

Abstraction and Spiritual. Artist is 'late symbolist' which suggest spirituality. painting becomes more squarer and directly confront music with title, but its not logical. lake is imaginary when music plays? boat on water, shore w dwellings, explore internal and external realities of the senses.

Mikalojus Čiurlionis, Creation of the World (6), 1905

Abstraction and spiritual. artist linked to cycles of mortality in his work, ephemeral art, mystical, abstract, and musical. peaceful grey white hombres into liquid dark blue. actual universe being created here this is one out of 13 total. other ones equate growth and life.

Franz Marc, Fighting Forms, 1914

Abstraction and the spiritual. (Blaue Reiter) artist's color principles: blue is astringent. yellow is female and sensual and red is matter, brutal. again, synthesis art. vigorous connection bet. blossoming chaotically or impulsively. painted on cusp of EU world war. quality and sense of imposing danger from left side: catastrophe and apocalypse.

Lygia Clark, Pocket Creature, 1966

Abstraction in Latin America

Joaquín Torres-García, New York Street, 1923

Abstraction in Latin America.

Wifredo Lam, The Jungle, 1943.

Abstraction in Latin America. Cuban sugarfields and Islander masks; considered his masterpiece. previously apart of the Surrealist movement. multi-perspective in Cubist manner of figures. "antastical moonlit scene around these monstrous beings—half man, half animal—emerging out of a primeval jungle evokes the realm of the Surrealists." MoMA intense Afro-Cuban mysticism and primtivization of the female.

Lygia Clark, Matchbox Structures, 1964

Abstraction in Latin America. constructivism and concerte interest in match box structure that is painted red and resembles modern architecture. "could be handled by the (be)holder, was rooted in her belief that art had to engage the viewer with more intimacy and totality than traditional conceptions of painting, and indeed sculpture, allowed." Alison Jacques Gallery.

James Luna, The Artifact Piece, 1987

Activist and performance piece. artist was American Indian living on reservation outside of San Diego. brings awareness to Indian Identity that was constructed for him. laid himself out in exhibition to challenge PRIMITIVE tendencies of museums and reception . places personal items near him to parody traditional artifacts. hybrid cultural shows sex pistols vinyl and other things. challenge narrative of museum's idea of native american turn dimply against itself.

Carolee Schneemann, Meat Joy, 1964

Art and Performance. "eight performers in their underwear—four men and four women—writhed around on the floor with chicken, raw fish, sausages, and other objects, in a pseudo-orgy-like ritual. The performance was intended to unleash the performers' (and the audience's) most carnal selves, dismantling social norms in order to liberate the participants." --artsy.com

Yoko Ono, Cut Piece, New York, 1965

Art and Performance. First preformed in Japan then in NYC at Carnegie Hall. begins fully clothed and invited audiences members to cut away her clothing. th work becomes tense as it progresses. transitory experience. explores power dynamics and body vulnerability. Ono and audience share voyeurism and invasionism. awkward, thrilling, empowering, chance that it could get out of hand in some way so there is massive trust involved. different dynamics depending on artists gender, but it has been performed many times since ONo. photo-feminist statement.

Carolee Schneemann, Eye/Body: 36 Transformative Actions for Camera, 1963

Art and Performance. uses junk similar to Rauschenberg junk. use neb-dada sculpture to exhibit her naked body. seeing if she could be the model and the creator of the art at the same time. interested in seeing what happens when the create of a nude is also a woman, not a man painting a woman like it was throughout history. feminism: extemely bold move at this time to use her naked body. plays with reflection and relationship with model and camera lens.

Adrian Piper, Catalysis IV, New York, 1970.

Art and Performance.apart of series when experimental performances were mean to change the environment she entered into. covered in white sticky paint in one, and the other is this one where she road around the subway all day in NYC with a bright red rag in her mouth. this photo doe snot capture that in the full, but it is the rag of little importance more so the experience and reactionary elements of the women next to her. push established forms of social interaction. she is african american descent who could pass as caucasian. she feels racial identity pushed on her by established structures.

Germaine Richier, Hurricane Woman, 1948

Art and Politics in Post-War EU. (sculpture) drama of postwar period, woman leaning back against a blast or explosion; bruised battered effect made through texture of body. body has gone through something. interest in figuration and materials used of physic breakdown and experiments, "her expressive use of the bronze medium, with its pock-marked surfaces, and her insistently figurative subject matter. The heavily-worked surfaces suggest her affinity to contemporary gestural abstract painting. However, Richier believed that in order to be effective art should not 'withdraw from expression', since 'we decidedly cannot conceal human expression in the drama of our time'. --Tate

Jean Fautrier, Head of a Hostage, no.1, 1943

Art and Politics in Post-War EU. he was held briefly as hostage by Gustsapo. showing of this time--> damaged wounded fleshy textures and colors of paint. fleshy under layers of skin though rag paper use--> symbolic shedding of painterly skin. disturbing distressing works where paint congeals on canvas like flesh. loss of detail and flesh is homage to multiple executions death of so many. informale: breaking down of structure and cohesion. non-heroic form. not even human-like.

Pablo Picasso, The Charnel House, 1945-6.

Art and Politics in Post-War EU. strong anti-war statement demonstrating death lose through distorted bodies. top left is warped from cubist form to corpses like in photos of concentration camps. Black and white give melancholy and colorless of mood. organic curvature of human body is heightened but to express chaos and multiplicity of death. crimes of stomach = highly abstracted to underline unspeakable turmoil of bodies. with in the avant guard; not heroic or pure abstractionist, but not fully realist either. inspired by newspaper war photos and one of his overly political pieces. "The central jumble of figures—a murdered family sprawled beneath a dining table—might suggest the piles of corpses discovered in Nazi concentration camps upon their liberation. " --MoMA.

Georg Baselitz, The Great Piss-Up, or, Night down the drain, 1962

Art and Politics in Post-War EU. thought he needed to break with earlier generation of German society. mental unravelling and conjunction of physical and mental breakdown. painted German Expression style, as it was previously denounced by the Nazis. " Rather than delight in the lush effects of oil paint, his handling sometimes suggests awkward scratches and smears, an effect which compounds the anguish of the figures he depicts." --thearthistory.org. ugliness he thought was necessary to deal with the atrocities of the war. a young boy holding exaggerated phallus-- maybe a self portrait--VERY controversial deemed morally inappropriate.

Laszlo Moholy-Nagy, Bauhaus Balconies, Dessau 1926

Bauhaus and Modern Design. "Form over Function" (Louis Sullivan) photo shows one angle from the bottom. In reality, it is 3D, and apart of the Dessau school which was built after conservative political efforts made them move from Weimar. streamlined ironwork shown from below angle, its large and all encompassing, but organized and harmonious.

Lionel Feininger, 'Cathedral', cover design for Bauhaus programme, 1919

Bauhaus and Modern Design. expressionism, medievalism, intensely triangular. Temple to shine light on new post war world. starting image intended to be poster for Bauhaus. not polished, stark and geometric white and black angles. impression from wood. "cathedral" concerned with spriritual, not religious. made at post-war chaos time rebuilding sense fof purpose. Spiritual reformed into technology. architecture at center of artistic thought and teaching at Bauhaus WOODCUT = so historical why? retrieve lost idea and rework it. Modernism!

Van de Velde, Applied Arts School, Weimar, 1900s

Bauhaus and Modern Design. former art nouveau artist. moved form fundamental forms to plastic-like from, sense of elementary and organic. early utilatrian language of design on display. natural light comes in-- like in a market or train station. "stripped down" no decoration, "form following function". Apart of many Utopian architecture designed for forward thinking modernity. it was here that applied arts an high art boundaries were broken down. Weimar phase: preliminary lessons taught by spiritual abstraction.

Marcel Breuer, Wassily Chair, 1926

Bauhaus and Modern Design. skeletal, stacking chairs. not uncommon today. one piece of metal, not four legs. naked, simplistic, minimal, and named after Kandinsky bc he used a similar form. no detail or ornamental but follows "form follows function model".

Surrealism

Became an international movement of rejection of the conventional, the "real", the logical. Looked to dream world and illogical instincts. Word first coined in a play by Apollonaire in 1903 and performed in 1917, but later coined in the Surrealist Manifesto by Andre Breton. Strongly inspired by Dada during the First World War, its hub was Paris. represents positive action out of ruins and negativity of Dada. primarily a literary movement that evolves into philosophy. main magazine was called "Surrealist revolution". clear ambivalence to women, surrealists often interested in heterosexual male superiority and freedom.

Joseph Cornell, Fortune Telling Parrot (Parrot Music Box), 1937-38

Carved Modeled Assembled. Surrealism in sculpture. glass-paned wooden box with brass handles, taxidermy parrot, music box parts, and mirror, pants, branches, paper, stickers, wood...meant to be mobile. all the materials have significance to artist--> trinkets of memorabilia. not naturalistic scene--> objects are trickets of private memory, assemblage for purpose of emotional relation bet. maker and viewer. not engage in eroticism but in what described as "white magic" the otherowrldy, the dream state like Max Ernst.

David Smith, Tanktotem, IV, 1953

Carved Modeled Assembled. welds bits of metal and forms them into geometric forms in space (Cubist influence) filled fields with sculptures in his houses yard, couldn't part with it. weird juxtaposition them in nature--> bizarre. sculpture holds its own weight from wires welded and bent into space --> create floating hanging figures. industrial material such as boiler tank steel to play with ideas of industrialism and capitalism. notion of totemism essential as acc. to Frued, totems conflate animal kingdom with human. if you build a totem, it is sacred and it cannot be touched. tanks are reminiscent of aircrasts and tanks in WW2--> Smith wants ppl to respect its power and not kill. of technique and material are equally significant.

Pablo Picasso, Construction, Violin, 1915

Carved Modeled and Assembled. earlier version: collage of materials: looks flat but there is 4 cm deep background. body of violin is protruding. quickly after 1909-1911 of cubism, Picasso pushed odd and perplexing 3-dimensionality of world. 1915 version: no sympathy towards the materials...finds materials where he can...glue them together in rough manner. playful celebration of imagination rather than craftsmanship. outlining "cross-hatching" to imply shading and depth traditionally, but using his own 3D form.

Jacob Epstein, Birth, c. 1913

Carved Modeled and Assembled. simultaneous importune in subject matter (an outline of a woman's vagina) and the material of stone. both rough and primal, the work of the artist is most apparent here, no assistants and no monumental efforts of expense and time. more rough-edged and natural. bringing into Q the femimine, the human, the primal.

Hannah Höch, The Sweet One, From an Ethnographic Museum, c.1926

Collage and Montage. photomontage used to explore topic of women and technology of women in Germany. primitive sculptures: 2 primitive masks with grotesque proportions (hands are two different sizes) lending an artificial spirit. distorted body = primitive desire and danger. and growing power of women. power is monstrous and fearful/ mass distribution of photos de-mythed though this. women and primitive both seen as irrational. exploring the idea of women as absurd analyzing body parts.

Richard Hamilton, Just what is it that makes today's homes so different, so appealing?, 1956

Collage and Montage. political message is less direct, more subverted. shows detached absortion of mass culture. small work with dizzying array of objects and signs inhabited by burlesque dancer and body-builder. self-referrential : Hamilton is shortened name of artist. cluttered space, American magazine objects represent top cultural trends. reflects juxtaposed scientific tech. with consumer products. TV is new center of bourgeois home instead of fire. sexuality and gender: referring to the cheap comic book romance. Adam and Eve = modern day mockery of human fault through stereotypes. overall vision of domesticity, heterosexual stereotypes around which mass culture encourages. melancholy mood: Adam and Eve in Paradise but they seem lost and incomplete in the house.

Georges Braque, Homage to J. S. Bach, 1911-12

Collage and Montage. simultaneous effect of wood grain in still life of violin. woodgrain at bottom left. juxtaposes proactively the wood and the painters hand--> weigh and compare them. witty high and low of name and decoration. this means expertise are challenged and hierarchy of musician v. painter v. mechanical.

Georges Braque, Fruitdish and Glass, September 1912

Collage and Montage. synthetic cubism: simpler forms and brighter colors because of intro of COLLAGE, this means the perspective is not logically rendered. no effort for order > papier colle: pasted paper. simple mediums and minimal mixture of normal paper to create illusion effect. whats real? paper-- BUT printed with illusion of wood grain. grapes are reference to Plenty the Elder tale and Zeuxis. clever device of paper shape to suggest different things within the composition. wood panelling--> knob of drawer. pieces of the mechanically printed, fake wood grain paper into a series of charcoal drawings. These fragments from the real world add significant meaning to the fictive world of the picture: they can be interpreted as the front drawer of the table (onto which Braque drew a circular knob), the floor, or the wall of the bar. This collage marked a turning point in Cubism. --The Met

Suzanne Lacy, The Crystal Quilt, 1985

Community Leaders, Activism. social responsibility and power of aesthetics. this was held in minnesota , broadcast live and attended by 3000 older woman from different socio-economic backgrounds who communicated at tables to discuss their lives, achievements, and differences. this was done to bring awareness and voice to older women in the media. collaborative effort that how now transcended to a film and documentary, compiling a neat repertoire of mediums though technological advances.

Gustav Klucis, Cultural Construction, Poster design, 1928

Constructivism and Russian Rev. "Klucis adopted photography as a means of reinvesting advanced art with what he called "ideologically rich subject matter" that a mass audience would find instantly identifiable and compelling." ideal example of Russian Constructivism as for the masses in developing sympathies for communist party. use of photomontage and calligraphy. also crested book deigns, newspaper and magazine illustrations."It was in 1926 that Klucis started to work specifically on political posters promoting socialist reconstruction, in accordance with the ideological discourse of the Party at that time." --Charnel House

Vladimir Tatlin, Model for the Monument to the 3rd International [Comintern], 1919-20

Constructivism and Russian Rev. physical properties (angles, flexibility, technology) explored in this reaction to Lenin's plan for socialist revolution. apparatus is similar to Eiffel Tower, its not architecture, not sculpture, it was about technological display in Constructivist way. propaganda: agitation against right wing of th war. unite art and technology (art needs a function) and it conforms to Marxist idea of materialism that forms social conscience. shows organic side to constructivism; experienced in the whole from all angles, no facades, telegraph office at the very top. skeletal framework. Russia at the time was hub for space work. conveys Dynamism of moving upward and forward, its a progression statement. symbol of it s communist meaning and downfall because of its overly Utopian, expensive advertisement of utilitarian work BUT in reality its the exact opposite of its fundamental ideology.

Vladimir Tatlin, Sailor, 1911-12

Constructivism and Russian Revolution. idea of sailing movement important for artistic language. abstract and calligraphic--> looking to the East for this Influence also apparent in Euro-Asian Appearance of Man. illumination of lights on the face. men sketched behind him with simple strokes of paint--> reform to the basics link this work to earlier pieces of religious icons. man is pressed close to picture plane in flattened area.

Jeff Wall, Picture for Women, 1979.

Contemporary Photography.

Andreas Gursky, Bundestag, Bonn, 1998

Contemporary Photography. divided not 4 horizontal groups, great deal of refraciton and play and manipulation. splice composition. plying with layout. politics of this: Berlin Germany--perhaps these refractions have political message of German transparency.

Destiny Deacon, Portrait--Fiona Hall, artist, 2004.

Contemporary Photography. harts back directly to the same setting and sitting position and environment of Smith's the Sock Knitter = patriotic empire painting, reclaimed and reworked to include aboriginals, limits to modern art pointed out bc we as a viewer don't know her and know this history. comment on her personal journey as an aboriginal and historical neglect of their inclusion in historical art.

Tracey Moffatt, Something More No. 1, 1989.

Contemporary Photography. use of dramatic setting, costumes, and props. Very pre-mediated and thought out. she herself is the creator, protagonist, and photographer. pain and humor (like Destiny Deacon) a story implies but not directly stated. man in the back in chinese and so is the boy, creating multicultural dimension.s cibachrome photogpraph. AU artist who is at odds with indent and inclusion of the aboriginal notion in her art. glamour and pain.

Pablo Picasso, The Accordionist, 1911

Cultures of Cubism. Analytic Cubism: termed by Kahnweiler means analyzing the object--> palette is reduced, grid like pyramid structure, usually a figure. common theme, Titles help us figure out what is being represented. fragmentation of space and focus on line. Shapes expand and contrast like an accordion--> sense of experience of same thing. Kahnweiler says they wanted pictorial methods to be 'impersonal', craft-like and anonymous.

Jean Metzinger, Teatime, 1911

Cultures of Cubism. Large scale Salon piece, style is not classical but epic themes are. measured time (organized, rationed) v. subjective time (slow, fast) Bergson:intuition v. duration, referencing touch, i

Fernand Léger, The Card Game, 1917

Cultures of Cubism. fascination between man and machine strengthened by wartime years; stronger sense of individual figures. unsure if this is humans turning into machines OR humanity despite war coming out machine.

Pablo Picasso, Les Demoiselles d'Avignon, 1907

Cultures of Cubism. women are inspired by Iberian and African makes, and there is a slice of melon at the bottom. five naked prostitutes in the Brothel famed in Barcelona. threatening masks for head and fragmented cutting bodies, not erotic or curvaceous. "first exorcism painting". Clearly inspired by Cezanne's primitive mysticism of women and Iberian Statuary.

Piet Mondrian, New York City 1, 1942

DE Stijl. art labeled as dejenerate by Hitler, so exiled to NYC. great vibrancy and energy evoking modern life in the city. same primary colors used to resemble grid-like pattern of city. lines crossing over and under each other. what is surface and what is depth? early versions used tape to show where he would paint later, this was process much like any high art painting. paint is evolutionary end.

Marcel Duchamp, Fountain, 1917

Dada. Artist called this "readymade" borrowing term from clothing sold ready-to-wear rather than made to order." remakes rules of artistic creation. craft of illusionism is demolished with ideas that should replace skill in minds of artists. urinal turned on its side literally--> submitted to NYC exhibition anonymously as "R. Mutt", as he was on the committee, but it was rejected and hidden. CHOICE of artist overreigns any FINAL OBJECT . Duchamp tested the limits and standards of art.

George Grosz, Homage to Oskar Panizza, 1917-18

Dada. Berlin dada was HIHGLY POLITICIZED> inevitable bc of its emergency at the end of the war, urban violent, street oriented. left wing uprisings, and ideals which work into this nightmare laden scene: toppling buildings into clusters of people. grotesque figures have sort of a medieval distortion of beast like heads. priests, trumpet blowers, painted all in deep crimson and black, signifying death. energy comes from despair of people in Berlin. Invention of photo-montage --> newspaper cutting and photos. satirical organization of elements to mimic commentary of ciritque of german politics.

Marcel Janco, Cabaret Voltaire, 1916

Dada. actual place was cross between night club and art exhibition where performances were impromptu and interactive. everyone intermingled with each other of different professions. Cubist flattened and delineated forms.

Hannah Höch, Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919-20

Dada. combination of political leaders and machinery and Einstein's head, implied Dada as a distilling force. captures political chaos through fragmentation of mass media cutouts. title "cutting knife" refers to her utilization of domesticity to undermine cultural and political values. The cut outs of popular Weimar poiliticians in demeaning positions (bathing or on top of women dancer) shows Hoch's idea to negate the power ideals surrounding her DADA opponents. Einstein's head in Dada side: "Dada is not an art trend" it is lasting. Pasted a self-potiat in right corner in empty spot of map of places where political voting was allowed for women. makes clever comment on power relations of men and women, like herself.

Piet Mondrian, Composition no.10: Pier and Ocean, 1915

De Stijl. Geometric abstraction."abstracted form nature" still. eliminates sense of reference to things on canvas. 'composition' in title gives a distinction from any presence of figurative art. theosophists, like artist wanted to invest in pure spiritual. piece based on elements of nature: abstract from observation of nature. reductions and simplification from view of something else through lines. in this case the pier and waves against shore. last work to be abstracted form nature. reduce waves, pier and points of their intersections to horizontal and vertical lines.

Piet Mondrian, Evolution: Triptych, 1910

De Stijl. theosophy ideas directly revived, and repopularized by Blavatsky. esp. apparent in this piece where colors gradually become lighter to center of triptych. spiritual dimension in its composition: details of bely button to nipple, triangle to upward moving central panel. ascension to great heights and heavenly realm portrayed din obvious symbolism. evolutionary principle of universality in form of his work.

Piet Mondrian, Tableau 1, 1926

De Stijl. turned canvas over on 45 degree angle to distort shape of typical canvas. This is called "lozenge" painting after Neo-Placicism was developed. four lines with different thickness that look like they will continue past the canvas confides. Artist sought for Active balance and Harmony. minimal color. no subject, no narrative, but focus on relationship of lines as apart of larger grid. this has aesthetic harmony referring to society's relationships of a spiritual socialist utopian harmony. no lack of meaning as it has spirituality through fundamental lines.

Lawrence Weiner, A 36" X 36" Removal to the Lathing or Support or Plaster or Wallboard From a Wall, 1969

Dematerialization of art. removing parts of the wall slowly with tool in his hand. title give info needed to execute it. final product is arbitrary. is the artwork the idea or does it need to be recognized by the viewer as "art"? one can accept this radical action conception as an "art piece" NOW.

Vorticism

English semi-equivalent with Futurism. 'Blast: is journal with 2 volumes: attacks Futurism as melodramatic; Futurism thought to be last stage of impressionism. Dissed the types of English art. Disengaged with "romantic" side of Futurism. Falls apart after WWI bc negative reality of machinery is realized.

Zoe Leonard, Havemeyer St. Brooklyn, from Analogue, 1997-2004

Ethnographer artist. series of 41 photos over a decade. this is in her neighborhood in brooklyn; wanted to capture rapid change that is occurring there. shops and markets were often shutting down due to cycles of boom and bust. photos of shopfronts and old clothes. result in showcase of globalized exchange of materials textiles sign advertising used clothes. analogue displays in large scale grid underlining collapse of different geographies. could be seen as anthropologist or artistic as one documents shifts esp. through photography. using outmoded technology to point out the changes in that and its linked to design of profit and continual newness.

Max Pechstein, Open Air (Moritzburg), 1910.

German Expressionism. Parallels Gauguin's return to nature, leaving metro life for precious outdoors--> strong classical roots. exploration of Dresden; appeal to nude as collective nakedness. communal return to "primitive" home. Studios held this idea of Utopian prosperity in nature. elements of nature and foreign lands expanded into the communal studio space.

E. L. Kirchner, Dancer with a Necklace, 1910. Wood sculpture.

German Expressionism. Vitality of Human Body expressed in moving figures. here is a woman moving. interested in traditional german woodcuts and "primitive". often married in his studio and his work objects. featured in a photo of Kirchner's studio, surrounded by disorder and absorption of material into studio space. sense of materiality in the wood. crude deformed body on wood. this is clearly wood, an embracement of the wood's natural ruggedness.

Erich Heckel, Franzi Lying Down, 1910. Woodcut

German Expressionism. compare w Matisse's Blue Nude. black-outline is common in face of fauvism bc of primitive mask-like nature. outline of mask on face + gender simplified down to her genitals. flattened space...artifice of 3D space is absent. radical simplification of woodcut w/ only red and black. body morphs into the setting it is in.

E. L. Kirchner, Self-Portrait as a Soldier, 1915.

German Expressionism. soldier (himself) with gruesome injuries and bloody arm not on battlefield but in his studio. "sketched, long forms" w "tapered limbs" also are in his prints, explore personal fears after bring denied allowance as a driver for the war for personal health reason. he is sallow, and cigagrette is flimsy to parallel his own emptiness artistically. sinister towering figure. life is drawn out of his hollow, dark eyes. hand cut off and gaunt vacant face.

E. L. Kirchner, Standing Nude with a Hat, 1907.

German Expressionism. urban sophiticated use "jar" with the primitive background. Influenced by 1532 Cranach's Venus in her shape, necklace, and pose. She is heavily make-up with stylish hat and jewelry, but nude? odd and ambiguous. "her Nudity is not of the traditional Odalisque kind" much like Manets Olympia. Model was Doris Grohse, the artists girlfriend , and stares at audience directly. "representation for potential weapon to refute contemporary sexual mores". oil paint and woodcut have mutual influence on each other--> woodcut version. reminiscent of modern photos of Man Ray's Kiki, Blakc and White. same sort of primitivism lurking within the metropolitan women.

Abstract Expressionism

Gestural Abstraction. expressionistic brushstroke, thick paint, Large in size for a large impact; color-field painting OR suppression of brushstroke, traditional painterly atmosphere for huge fast landscapes of paint. post painterly abstraction: rather than painting on canvas, take plain canvas and pour acrylic over it. from 1940s on: take up structure of cubist grid, surrealism autononism, mural-eque aimed at expression aesthetic.

Yinka Shonibare MBE, Double Dutch, 1994

Globalization and Post-Colonalism. British and Nigerin Artist represents post-colonialism and globalizaiotn. based on wax print fabric initially based on Africa designs, whiter mass produced in England, on dying process original to Indonesian tradition. Cultural layering built up form the start and a celebration of it. —intersection of colonialization and westernizattion —culture hybridity. — Monochrome background with small squared of Indonesian fabric that went though Dutch and American manufacturing processes. —personal symbol of globalization in the fabric's identity. — positive force. —ambiguity of transnational fabrics... — destroys African mysticism. — subverts African stereotypes. — this was prompted by a professor asking why his work wasn't our African, assumed to be so even as a Britain citizen.

Ai Weiwei, Han Jar Overpainted with Coca-Cola Logo, 1995

Globalization and Post-Colonalism. cultural patrimony is turning absurd. destroying of old with mass culture of new. Now artists like Wei Wei seek to make collage as an tangible form of medium to express an thoroughly jolting expression of juxaposed old and new. Coca Cola's bold red logo is striped across an ancient urn, thus lending an unsettling slashing of the 'sacred" or what we would qualify "primtive" BY physically marking the urn with the crimson letters, Wei Wei is forcing the viewer to observe vandalism in its most extreme form, reflecting the seeping of these huge mega industries as encroaching on our thoughts and lives, past and present. This piece is important to post-modernism piece that speaks volumes about how the world is destorying the old with thenew, not improving upon it.

Frank Bowling, Who's Afraid of Barney Newman, 1968

Globalization and Post-Colonalism. look to Newman's Vir Heroics Sublimis of 1950 (big red tech of canvas) for zips and color block inspiration, also direct reference in title. —Flag colors of Ghana. country that gained independence two year before this was made. —comes to UK in 1950 and studies at Royal College of Arts. means he is there with heros of Pop Art. —taken up by some as Pop Artist... —finds Britain as stuffy. move to nYC more opportunities for his style. —meets Greenberg and then start to engage in abstraction in subversive, funny way. Specifically referential colors (as discussed) but overplayed on stenciled map of south america. —stated that Britain had no room for his work — pour painting, USE CHANCE and then manipulate the map. reconceptualize the world by excluding America and putting hoop eland on it. —reminder of his roots. — engaged with all cultures he worked with to represent collectivity

Yinka Shonibare MBE, Nelson's Ship in a Bottle, 2010-12 [Fourth Plinth in Trafalgar Square, London; now re-installed at the National Maritime Museum, Greenwich]

Globalization and Post-Colonalism. — sails made out of clothe and referencing Britain's involvement in the slave trade and their reliance on the money. — not celebratory, but not wholly negative. — quite a whimsical fun and beautiful work that allows sensory appreciation for its beauty. interplays bet. cultures through these processes that are positive. (hybridity) use of richly patterned Dutch fabric for the 37 sails. Tying together historical and global threads, the work considers the legacy of British colonialism and its expansion in trade and Empire, made possible through the freedom of the seas and new trade routes that Nelsons victory provided. --artfund.com

Siamak Filizadeh, The soldiers of evil are killed by Rostam II, of the Rostam II series, 2009, digital print on canvas

Iranian Art.

Charles Hossein Zenderoudi, The Hand, 1960-61, paper collage with ink, watercolor, gold and silver paint

Iranian Art. Shiite folklore and Islamic calligraphy. calls for unity among all monotheistic religions. and recalls the story of Abbas who brought water from the Euphrates after enemies had severed his hands. Emblems of the baptist bowl (Xianity) Jewish Star and the hand represent the religions.

Shirin Neshat, without title, from the series Women of Allah, 1999, B&W RC print & ink

Iranian Art. statement made about women concerning the Western perceived repression of women bc of new laws about wearing veil at all times and the empowerment that gives women (Islamic POV) resist stereotypes of Islamic women here. Persian calligraphy written all over the have to invoke silence and inability to have a public voice.

Futurism

Italian Born Avante Guard, Cubism influence with interest in city, modernity, direct, aspects of urban life. Associated with anti-communist fascism and extreme right wing. Le Figaro--> where manifesto (Marinetti) was published; most widely circulated newspaper, use of mass means to distribute futurism. 3 stages: engagement w synesthesia and kinesthesia (Biocconi); Cubist techniques of modern vision, and especial interest in chronophotography (Balla); Turn to abstraction (Speeding Horse and House)

Donald Judd, Untitled, 1965

Minimalism and the Body. artist was very serious US minimalist. galvanized iron, painted aluminum; simple form shifting from positive to negative shape. "one thing after another" did not want an "artsy" look. used cheaply made galvanized steel used in basements. industrial materials used to make harmonious, geometric perfection. not functional as it is exhibited in a art gallery, challenging the norms of high art by its representation of simplistic, repetitive, grey structures. It shows industrial lines. industry, repetition and simplicity. has intense specification to dimension, material, finish and construction--creates autonomy " work isn't the point--the piece is"

Anthony Caro, Midday, 1960

Minimalism and the Body. now sits in Museum of Modern Art; industrial looking close-up; nuts and bolts on full display, looks different and take on various forms from different sides, from the from looks odd. side view: acknowledges physicality and weight of the form, humanizing way of treating steel by creating a focus on the way humans handle weight of heavy forms; chairs beside Midday: way of sitting parallel to sculpture weightiness; Freid would enjoy this work because of the response it provokes from human hand and mind.

Carl Andre, 100 Copper Square, 1968

Minimalism and the body. copper plates that one can hear clanking when its being walked onto. "walk" in space where sculpture would be most solid, raised site and plane, but here it is devoid of that, challenged idea of sculpture in 60s. use of ready-made materials, modular units and negative positive space to emphasize space and relationship bet. viewer and site through simplified sculptural language (squares, cubes, lines)

Robert Morris, Mirrored Cubes, 1965

Minimalism and the body. take in environment they are displayed in, reflect the world around them. inclusive of YOU as the viewer. people will revert to childlike activities when around them...serious piece but induces playful action. draws attention to one;s own relationship with work. Michael Fried "Art and Objecthood" wrote in opposition to this kind of art, says it is complete waste of time, preferred geometrical abstraction. in this piece, he was inspired by performance event guarde, argued for his work to be understood in physical and physiological term. Sol LeWitt called this "Conceptual Art"

Margarete Schütte-Lihotsky, Frankfurt Kitchen, 1926

Modern Architecture. "New Objectivity" which embodies rationalization of Bauhaus Ideas. standardizing kitchen inspired by buffet cars on trains. very efficient compared to earlier cooking pantries where each item had its own room. cut down on human energy needed in the kitchen, can multitask more easily as elements are carefully in arms reach of each other. women have more work and leisure time this way with this model thus changing SOCIAL STRUCTURES.

Otto Wagner, Post Office Savings Bank, Vienna, 1903-12

Modern Architecture. Before this type of building was Neo-Rococo and Neo-Classicism. Vienna was hub for Neo-style...this changes with a move out of worn styles of old. modern move reinforced cornet, strong and cheap glass, iron, steel, etc. form follows function. this building is created by "father of modern architecture" secession style, art Nouveau. says modern life is key for artistic departure. emphasis on flatness of building wall, no elaborate moldings, this marble slabs with alumininum (modern material as it does not rust) glass roof on inside. glass bricks on bottom. light bright and hygienic.

Peter Behrens, AEG Turbine Factory, Berlin-Moabit, 1909

Modern Architecture. Germany is industrializing very rapidly. artist does a collective redesign of factories, products, and stationary--> "branding" corporate identity established by standardizing in modern fashion. extraordinary success of building lie its use of steel, glass, concrete, and foundation on cast iron basement. steel frame flexible roof in order to move turbine. light flooding in from outside again "form follows function"

Le Corbusier, Villa Savoye, Poissy, 1931

Modern Architecture. epitome for modern living efficiency. embodies architect's five points of architecture: 1. building raised on Pilotis. 2. flat roofs with garden on top. 3. 3-floor-plan: few columns supporting slab floors. 4. light and air come into home. 5. free facades--not heavy. famously said "the house should be a machine for living in" "elegant melding of form and function in his floating white box. modern arcitecture critiqued as :cold" "stuffy" and "boxy" 'A house is a machine for living' Le Corbusier (Charles Edouard Jeanneret)

El Lissitzky, The Constructor (Self-Portrait), 1924

Modern Photography. gelatin silver print. idea of photographer as a constructor and manipulator. lettering manipulated into he photo. superimposed hand holding compass fades into overlap with head. "Devised from six different exposures, the picture merges Lissitzky's personae as photographer (eye) and constructor of images (hand) into a single likeness. Contesting the idea that straight photography provides a single, unmediated truth, Lissitzky held instead that montage, with its layering of one meaning over another, impels the viewer to reconsider the world. It thus marks a conceptual shift in the understanding of what a picture can be." -- MoMa.

Albert Renger-Patzsch, Snake's Head, 1925

Modernist Photography. "New Objectivity" his was a search for the underlying essence and universality of those objects. About this image of a grass snake, one of the hundred photographs included in The World Is Beautiful, --The MET

Henri Cartier-Bresson, Behind the Gare St Lazare, 1932

Modernist Photography. -bring forth the street photographer notion, photojournalism beginning here. snapchat photography possible with the use of 35 mm camera which is mobil and handheld. looked new but back then the leaping figure of spur of the moment action was dazzling. setting is in Paris, behind train station, where scene is taken from odd place: v high up with rooftops int he back. flooded area all round, this is attractive to the photographer because of the geometrics of reflection, repeated fence, and arches of the industrial steel? int he bottom. rooftops are stabilizing the motion in the middle of the scene; this is the epitome of modern photography as it embodies the grittiness, the motion of people in urban world.

Alfred Langdon Coburn, abstract vortograph, 1917

Modernist Photography. Vortecism: loss of direction and orientation, repeated shapes and patterns. works focused on light and shadow NOT about subject matter or detail. artist experiments with abstract world here, superimposing images on top of one another or using triangles and crystallized effect, breaking the world of realistic and illusion. "abstract photography"

Edward Weston, Washbowl, 1925

Modernist Photography. straight photography: counterreaction to photomontage. rejection of manipulation of photography as technique and medium w/in itself. crispness of execution and effects of light on metallic surfaces; framing encourages balance of something ordinary.

Alfred H. Barr, front cover of Cubism and Abstract Art, 1936

Modernity. Cubism is root for many branches of other art types. pre-WWI of avant guard usually defined as "cubism". classical themes were present. radical redefinition of pictorial space that rejects academic allusion of depth, vanishing point, and spacial recession. he was the head and the Curator for MoMA it was his job to justify that art had an evolutionary progress. cause and effect situation of art, very western, excluded non-EU works. from end points on chart can only go with abstract art.

Hannah Höch, Das Schöne Mädchen (The Beautiful Girl), 1919-20

Modernity. inventor is 'collage'. pictures from magazines creating a new figuration. fragmented, reduced to elements. faces obscured by light bulbs. logotype makes her identifiable figure w/ clock is direct reference to Taylorism. this is consequence of dark-side of Modernity.

Umberto Boccioni, The City Rises, 1910

Neo Cubist avant-guardes: FUTURISM. shows engagement with synesthesia and kinesthesia ( breaking down of bodily movement/ stillness. and symality (compressing experiences) this is an example of pre-Cubist futurism that was inspired by late Impressionism of Seurat and his dotting and pointillism. dynamism, speed, blurred, together, each figure can be isolated and defined, but with technique of feathery brushstroke layered next to each other characteristic of Late Impressionism.

Umberto Boccioni, Dynamism of a Speeding Horse + Houses, 1914-5

Neo Cubist avant-guardes: Futurism. turn to abstraction. actual separate elements: wood, leather, things constructed from different time and places constructed together. factory produced elements and break from sculptural mediums . wood, cardboard an metal intersected in space to create a Cubist like form. merging of natural horse with modern home into one form.

Giacomo Balla, Girl Running on a Balcony, 1912

Neo Cubist avant-guardes: Futurism. use of cubist technique of modern vision. repetition of feet and head. divisions/ Neoimpressionistic "dot" techniques present. Repetition of Marey's photos seen as influencing force. Marey and Late Impressionism influence.

Wyndham Lewis, Workshop, c. 1914-15

Neo Cubist avant-guardes: Vorticism: idea is against romanticism of futurism and their melodrama. directly influenced by Futurists though. No blending or simultaneity here, spreading analysis of anything is absent. evokes a world of machinery and steel in a non-cumultive way. crystalline structure with concentration of energy...building a machine... modeling art after rit. Vorticism is not naively celebratory of machinery. it perceives it as fact of our existence. art modeled as engineering disciplines NOT flux and blur. problem with Vorticism: falls apart with WW1. " Lewis uses angles and diagonals to suggest the geometry of modern buildings. Its harsh colours and lines echo the discordant vitality of the modern city in an 'attack on traditional harmony'.--TATE

Robert Rauschenberg, White Painting, 1951

Neo-Dada and Junk Art. Looks very similar to Malevich's monochrome and B Newman's Vir Heroicis Sublimus, but is very different. not complete flatness in the painting, some feeling of shallow depth. blank space for other things to happen, goal was it to look like pure and untouched by human hands. it is sensitive to the world and allows to continued thought of something else. Radical precursor to minimalism and conceptualism. absorbs the environment it is in, pay attention to the slow things and slow things.

Robert Rauschenberg, Monogram, 1959

Neo-Dada and Junk Art. NYC streets, abstract expressionism themes. supposedly meangingless conjunction; still subject to iconographic readings. collection of outside world; move to literal physical thing that one cannot see though flatbed picture plane. collage and assemblage= 3D emphasis. not quite a painting or scepter but a combine. stuffed agora goat from office supply store just casually bought on a NYC outing. paint on the goat and surround it with tennis ball, wooden plank,to form pasture. viewer looks in down and around the piece; thoroughly engaging them. many critic think of it as a comment on his sexuality and place in art world.

Robert Rauschenberg, Bed, 1955

Neo-Dada and Junk Art. artist's own bedsheet and quilt mounted on on board, literally placed his own intimate space in the galley.no clear sense of feeling or emotion. critiques call it violent and troubling. Sternberg said it was happy, welcoming, but its ambiguity lies in the personal and abusrd being combined, making it Neo DADA in its keen self-awareness. bed = place of dreams, allowing us to see the arena of where this happens in combination with Pollock-style drip painting. artist's aim was to combine art and life, combining the ordinary with the highest art tradition of both painting and sculpture (as this is something in between.) Post-Modern irony here is in hyper-self-awareness.

Robert Rauschenberg, Automobile Tire Print, 1953

Neo-Dada and Junk Art. horizontal tile mark; obvious parody of painterly touch. replaced by automatic touch and shows an instance of external world-entering art. 'index' technical term: mark made through physical interaction paint on hand; light and photograph . mono print, drawing, and performance of the technology. no human hand necessarily evident. inevitably calling to mind contemporary mass production. model a ford driven over pools of luck paint outside artist home in NYC

Gabriel Orozco, Island within an Island, 1993

Nomadic artist. miniature skyline that mirrors buildings in the background, suggest mimicing motion is essential to capitalism. sculpture made at random from bits of rubbish. use to make political point as they elude to inequalities in global metropolis. shining buildings and dingy garbage contrast and similarities. equally folding manhattan and Jersey unto each other.

Pauline Boty, The Only Blonde in the World, 1963

Pop Art Goes Global. Boty was female artist from Britain, unusual subject for female to paint. she places Marilyn on a vertical strip detached from the abstract, expressionistic strokes behind her. title is ironic, as Boty trying to comment on the movement itself of Pop Art. plays on her fetishistic iconography of Marlilyn from a hetersexual viewpoint and turns in to her personal take with a lack of flat right colors. instead the play of green and red render the brightness in a non typical sense, this stems for her background and knowledge in stain glass.

Antonio Dias, Note on the Unforeseen Death, 1965

Pop Art Goes Global. more critical pop art as it comments on military regime in Brazil. soft materials used...oozing element of bloody secretion. allusions to American involvement in Latin politics with its use of comicstrip." By borrowing elements from the structure of comics and the iconography of graffiti, Dias sabotaged commercial culture's semiotic structure forcing viewers to confront the traumas of their environment." --Giotti, Tate

Frank Bowling, Cover Girl, 1963-4

Pop Art Goes Global. pop signifiers and social identity. woman fills canvas in center, background is white washed colonial house. emblematic of racism of time, transnational identity called to attention, colonialism, migration and movement.

Andy Warhol, Red Race Riot, 1963

Pop Art Goes Global. silk screen in a series of photos showing protestors being beaten. do we simply see the image or do we engage with it? civilian being attacked by dog, red and pink heighten the physical pain and suffering urgency and intense drama. originally published photos by Moore of the Birmingham Race riot in Life Magazine.

Paula Scher, Swatch watch USA poster, 1984

Post-Modernism. 80s-- style statement of designer decade. post modernist linked to identity of leasing companies. borrowed design almost exactly like a Swiss Tourist Poster from the 30s. is this a parody, something too borrowed to be art/ plagiaristic? post-modern technique picked up by advertising.

Mark Tansey, A Short History of Modernist Painting, 1982

Post-Modernism. critique of modernism. referring to illusion window of Renaissance painting. the far left depiction is perhaps spraying water back at you, illusionary painting of renaissance has this but its a flat surface you can't go into space behind it.. middle one; metaphor for modernist stubbornness, trying to go against academic rules but you can go forward if you just go around it; trying to move forward than humanly possible. far right: hen puzzling repplication of itself, originality and individualism in Modernity.; criticizing how celebratory of the self modernism is. conceptual and performance art critique. all witty metaphors for the absurdity of modernism. all three mock modernism and its intentions.

Yasumasa Morimura, Portrait (Futago), 1988 (colour photograph)

Post-Modernism. effectively usurping iconic space used for EU art tradition. pleasure he feels in adopting a tradition in eastern way for his own purposes. speaks to the Japanese and Chinese traditions of market practice with he cat being turned into a good luck symbol and the head of MAnet's Olympia being turned into the artist's head. strip away the scandal of it and prevert it to reflect contemporary society. he turn himself into a geisha like prostitute of the Japanese culture, fulfilling western stereotypes.

James Stirling & Michael Wilford, Wissenschaftszentrum (Science Centre), Berlin, 1979-87

Post-Modernism. existing historical building with post-modern building of collage and decomposition. sense of importance of a basicila or amphitheater. weird exaggerated window reveals collaging of elements in colorful way. pluralism. no limits; loud and unapologetic.

Kazimir Malevich, An Englishman in Moscow, 1914

Russian Avant Guard. Sword, englishman, candle, fish, spoon, byzantine church. = wholey unrelated objects. breakup old world signifiers with heavy meaning and develop them as chaotic in world on brink of WW1. Artist described piece as "alogical". artist founded Suprematism (assemble" objects instead of painting them, creating new aesthetic language; explores cosmology) term "Suprematism refers to :non-objective" world outside of everyday reality. "Alogical painting allowed colours and forms to sever their ties to the physical world; this would prove crucial for Malevich's move into abstraction soon after.... complex riddle without a solution" --TATE

Kazimir Malevich, Chiropodist at the Baths, 1911

Russian Avant Guarde. Shows Malevich's early inspiration from Cezanne's compositions and also from Fauvism flatness and childlike brushstroke of thick heavy black outlines. simple people, provincial life and certain primitivism lurks. Mundane acitivity of hand and foot doctor at work.

Natalia Goncharova, Cyclist, 1913

Russian Avant Guarde. called himself Neo-Primitivist, advancing manifestos that distiguish themselves from French by using Russian folk art/ Byzantine influence. influence from film: cinema and movement. wheels / body moving on cobbled street, modern dress and modern bike =URBAN Modern scene . let's in the back = Tailor shops that cyclist is passing. cross over bet. science and new art, as she is using rays and inward lines to great volume and motion through abstraction.

Alexander Deineka, Building New Factories, 1926

Social Realism.

Diego Rivera, History of Mexico: From the Conquest to the Future, 1925-35

Social Realism. apart of Mexican Muralist group: Union of Technical Workers, Painters, and Unions, did not believe in traditional easel painting. artists' inspiration from pre-colonial Spain after the Revolution. generalized figures with idealized portraits of specific references--> Karl Marx haunting Mexico for capitalist future. about suppression of Mexico under Spanish to Marxist future. can be seen from close-up and far away flattened figures. particular story being told that was designed for political social contemplation on a public level.

Isaak Brodsky, Lenin in the Smolny, 1930

Social Realism. apart of the Association of Artists of Revolutionary Russia. (AARR) looking back to 1860s and pick up where they left off. this piece is too photographic, not enough painterly quality, thus making it classic and modern by taking insp. from photo-realism after camera's popularity. "Brodsky wanted to convey an absolute portrait likeness and the concentrated, business-like appearance of Lenin. The figure is drawn practically life size, which enhances the sensation of reality and allows the viewer to feel himself right before the leader, as it were. The depiction by the painter of the study is just as accurate and painstaking. The colour structure of the painting is as close as possible to the real paint. The artist paints every detail right up to the electricity cabling and outlet. This specificity helps strengthen the accuracy of the portrayal and underlines the historical importance of the moment. The painting was done after Lenin's death and was intended to canonize the image of the leader of the world proletariat." --Trekayokav Gallery

George Grosz, Germany: A Winter's Tale, 1919

Social Realism. artist championed "New Objectivity": return to classicism and retrenchment of Utopian Classicism. engagement with political life and critique of contemporary society. technically the radical side influenced by Dada Cubism and Futurism. drawing/lithography critique and response to traditional easel paintings. "shattered space of cubism and the motion of Futurism" Grosz utilizes allegory throughout in order to maximize the impact of each figure and object within the tumultuous space of the painting. In the center, a man representative of the bourgeoisie readies himself to consume a meal, while a riot of bodies swirls around his head. The three figures at the bottom represent the church, state, and school, all of which spoon-feed their ideals to the receptive man. Those in control studiously ignore the resulting chaos, represented by figures such as the sailor, who Grosz declared to be a symbol of revolution. theartstory.org

Liubov Popova Popova, Painterly Architectonics, 1918

Suprematism and Russian Rev. woman artist moves from textile design. has heavy architectural influence here. looking at environemnt as building blocks. moved from Cubism to Suprematism hereis full Suprematism. projection of material reality. colors are blocking but with hints of light around the edges suggesting worldly buildings with sun hitting them rearranged. "Popova created between 1915 and 1919 in response to Kazimir Malevich's Suprematist paintings. Her definition of painting as a constructive process also recalls her engagement with the materially based abstraction of fellow Russian Vladimir Tatlin, in whose teaching studio she worked." --MoMa

Salvador Dalí, Accommodations of Desire, 1929

Surrealism: Art and Revolution. artist was initially a surrealist filmmaker. desert landscape...About artist's relationship with father. stones with roaring lions: Freudian symbol of passion and desire, perhaps pertaining to his love affair with another Surrealist artist wife. Dali's oppressive father , dead mother in one whole. fear of intimacy and sexual intercourse which lion is symbolic of. lion taken form children's book and painted in exact replica: illusionistic. everything else is painstakingly realistic in the composition, further making the mood jarring. no movement, static.

Max Ernst, Pietà or Revolution by Night, 1923

Surrealism: Art and Revolution. break away for rationalism of canvas and narrative. artist is important link bet. Dada and Surrealism. paint strange world and world of dreams; rooted in unconsciousness: site of primal fantasies, repressed memories. a reverse "Pieta" father is Ernst's father, offering son for sacrifice? is the third figure the holy spirit?heart of Surrealism: Reality is not orderly or logical. Freudian interpretation: process of displacement desires that are encoded in dreams. childhood sexuality: male competition for mother's love. phallic imagery (wiggly lamp = castration) full meaning never disclosed by Ernst. Ernst studied psychology at school.

Giorgio De Chirico, The Mystery and Melancholy of a Street, 1914

Surrealism: Art and Revolution. classical colonnades have strange relationship to each other. menacing shadow on little girl's silouhette. element of surprise....we don't know whats lurking on the street. "metaphysical painting"(--Apollonaire) where geometric forms are superior in early, public deserted place. menacing shadow awaits around the bend in the form of a statue. vanishing points aren't coherent so the angles are arranged intentionally by artist so the girl will never actually reach the statue.

Magritte, The Rape, 1934

Surrealism: Art and Revolution. if she could speak at all, she only has voice through her body as represented in the absurd placement of her body in the confides of her giant head. she is ribbed of her brain and humanity. awareness and objectifying woman, unmasking male dominance and the action of the title. The neck and shape are phallic-like and the hair reminiscent of pubic hair, not appealing but actually quite grotesque. sought to cause an unsettling in the viewer.

Max Ernst, The Habits of Leaves, 1925. (Frottage)

Surrealism: Art and Revolution. turn away from canvas painting. Frontage evokes forms to him. one of 34 collotypes after Frottage. "process is equivalent to automatic wiring where the author or artist is indifferent" --Ernst.

Mierle Laderman Ukeles, Washing/Tracks/Maintenance: Inside, Wadsworth Athenaeum, 1973.

Systems and Information. In Manifesto for Maintenance art said she is a mother wife and wife who does a lot of cleaning and maintenance so she is now going to exhibit them as art to "flush them up to consciousness"

Martha Rosler, Cleaning the Drapes from the series House Beautiful: Bringing the War Home, 1967-72

Systems and Information. gender divisions of conflict. women in the 60s confined to domestic sphere--> gender demarkation."Rosler made literal the description of the conflict as the "living-room war," so called in the USA because the news of ongoing carnage in Southeast Asia filtered into tranquil American homes through television reports. By urging viewers to reconsider the "here" and "there" of the world picture, these activist photomontages reveal the extent to which a collective experience of war is shaped by media images." --MoMA

Martha Rosler, Balloons, from the series House Beautiful: Bringing the War Home, 1967-1972

Systems and Information. photomontages of activism and awareness. images of everyday life and war in Vietnam spliced together. domestic interiors are laden with sad scenes of violence and wreckage. this is meant to b jarring to the viewer.

Henri Matisse, The Blue Nude (Souvenir of Biskra), 1907

The Fauves. (Primitivism and Fauvism) apart of artist's North African Paintings. idealized unrealistic outlook/representation of the exotic woman. non-specific African location initially especially not in the actual painting. lack of geographical specificity. TIMELESSNESS, non-Western. generalized vision of African is sensual and sexual not cultural or civilized. parallel of hips, curves and foliage. draws on traditions of erotic depictions of women by Delacroix --> product of male fantasy, aura of voyeurism Her curves are bony and harsh. lower leg not anatomically correct. cage-like nature of being crammed into a painting. mask like quality of face and detached gaze is off-putting. she is large and not sensual in the stereotypical way. EU Influence in Odalique's with Slave, Ingres. also influenced by reliquary figurine. she is not passive, inviting, realistic. arm has been changed and the viewer can see the residue of earlier brushstroke.

André Derain, The Dance , 1906

The Fauves. a response to Matisse, more smooth brushwork, distinct exotic place, snake winding around legs is biblical reference and mirror the branches above. stage-like compression of figures. reference Hindu relief sculpture and Egyptian body form. frieze like composition and setting like Guaguin and Matisse.

Henri Matisse, The Open Window, Collioure, 1905

The Fauves. not a window into external world. internal harmonies of color throughout composition that expresses emotional side of artist. thick impasto brushwork. primary colors. positive beauty of the primitive though many thought of it as negative. blue boats on pink sea, v unnatural. Painted near the Spanish border when w Derain. The angled, out-flung doors invite into the scene, but different brushstrokes in each "zone" set up cross-rhythms that impede recession: wide sweeps in the room's interior, short wavy lines or staccato dabs in the view beyond. Natural Gallery of Art.

André Derain, L'Age d'Or (The Golden Age), 1905

The Fauves. people enjoying life drinking, reclining nude figure in dense chaotic composition. savagery expressed in red. woof-relief carving like figures. woman more natural looking, influenced by Gauguin's rendering of woman closer to nature and instinctually sensual to it. strong association with female and savage nature.

Collage ad Montage

assemblage of mixed medias. cut and paste fragments challenge individual skill and genius of "art" bc technique is modern. newspaper, photography reflects popular mass culture, modern age with themes and messages of modernity. Cubist collage rethought reality and illusion relationship. 1920s photomontage: juxtaposition exploited for political ends. pop art--> consumer culture. stencil letters emerge in Braque's the Portuguese. Picasso constructs with cardboard and paper. Dada influence on collage emerges a more mystical mood of surrealism.

Cubism

been described as most radical movement since renaissance. proto-cubism: Braque and Picasso. can come from natures thus is still figuration early on. Introduces time into painting by showing all sides of an object

Modern Photography

began to be supported as a real form effort in various ways. photography = central medium for avant guard (Futurism, Contructivism, and Surrealism) divided into 2 large groups: Manipulated Photography (before or after photo being taken) OR straight photography (avoid manipulation) faithful to original detail, framing, etc. Divide such as this needs to be challenged.

Der Blaue Reiter

counter-group to Die Brucke. Kandinsky, Macke, Munter, Jawlensky, Kupka. Kandinsky and Marc are forerunners. leading group spirits from Russia, but convene in Germany. musical, organic, romantic-like abstraction very invested in SYNTHESIA: finding one art form in the "color organ" developed by another. color effect on the pysche. blue rider is strong motif. art influence from Alaska, East Islands, woodcuts, music compositions.

Abstraction

definitive 20th century innovation. sometimes rationalizing sometimes spiritualizing. in 1900-1950 it was inspired by Utopian dream of better world. rationalizing painting to limits to understand irrational experience. 1950s onward is abstract expressionism

Minimalism

eemrged at same time as Pop art and was criticized for its lack of meaning, especially by Fried "art and Objecthood" as it "lacked metaphor content and meaning" that AbEx had in its profound subjective meaning.

modernism

exclusive to art world, not applicable to literature etc. art becomes more and ore simplified to artistic medium and the narrative of this questioned continuously. American Art seen as paradigm to all other art.

German Expressionism

organized as a pre-WWI avant guarde group: Die Brucke, 1905-1913. Kirchner, Schmidt-Rottluff, Heckel, Pechstein. OPTIMISM of role in the world, largely self-taught. revitalize German art and culture. works in range of media, especially woodcut: not modern but acronistic and linked to Renaissance Germany. crude forms, primal colors, simple shapes, thick outlines w black. artisitic collectivism and communal methods of work. study African and Asian and have a fascination w primitivism. issue becomes how to exhibit untraditionally? search for authenticity was in working process and subject matter (primitive).

Pop Art

orginated in Britain, but more associated with America; took off in the 60s. interconneciotn between artists human love affair with capitalist fetish and consumer goods ability to shape one's identity. raises Qs of Western Imperialism. debate of if it is compliment in capitalism or critical of it? The pop art intended to be critical was often popular and people wanted to buy it. Gender: women had harder time as maker and critic bc they are commoditized and objectified in Pop art itself-->(notion by historian can be assumed wrong)

Art in Post War EU

practical opportunities in the EU were dwindling for artists. America and NYC were hubs for EU artists. Paris refused to see radical changes that were affecting economic and artistic relations bet. EU and US. a increased focus not he artistic representation of the body and its victimization. pain and trauma directly and abstractly illuminated.

Modernity.

relentless extension of capitalism into more and more aspects of everyday life. tradition uprooted. rise in nationalism. positive modernity in the form of education and health. mass communication and media spreads globally. secularization of people and art. Art and Modernity: some openly embrace modernity (Futurists) and artists resisting modernity: satirize it. Hannah Hoch. George Simmuel: The Metropolis and Mental Life": everyone is calculated and problem solver, effect of modernity. ***development of modern culture is characterized by preponderance of the objective spirit over the subjective spirit. —individual becomes "cog in an enormous organization of things" — metropolis outgrows all personal life — "one has to exaggerate himself in order to remain audible to sen himself"