ARTH 2451 Quiz 3
- Bauhaus - crystalline, fractured cathedral - metal armatures and buttresses double as bursts of light - bringing together disciplines and balance - medieval cathedral is the home of the maker
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- Schmidt, "Art and Technology: A New Unity," poster for the Bauhaus Exhibition, 1923 Bauhaus (1919): influential school of modernist art and design; sought to work through the ways in which a modern culture of technological media, machine production, global communications, and post-war politics shape the role of the artist - there is a pedagogical shift from an early medievalist, mystic notion of craft to an industrialized idea of craft - condensed slippages imply inference - new artist is a designer of industrialized manufacturing
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- constructivism: logical practice responding to the demands of a new collective society; joining art and industrial materials to create useful art - concentric shapes rotated in depth to occupy the space, but not fill it (transparent object) - opposed fetishization of artistic inspiration - laying bare the process of its production
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Brancusi, Princess X, 1916 - Fordism/Taylorism: synchronization, precision is a simplification of work/manufacturing Brancusi - chrome, polished finish is impersonal and object-like - stripped down to basic elements - pornographic, not accepted - ambiguity between male and female representation - evocative of body and machine (mechanized world)
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Calder, La Grande Vitesse, 1969 - surrealist - planar object that intercepts light - matte - anti-mobile image
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Calder, Mercury Fountain, 1937 - surrealist - do the formerly impossible - in celebration of the miners who withheld it from being used as leverage in the Spanish civil war - the mercury can only fall a few inches at a time as it is highly unstable - corrosive anti-monument (similar to Miro's anti-painting)
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Dali, The Persistence of Memory, 1931 - surrealist - dreamscape - incongruous with hard and soft objects - time and space organization is done away with - description and specificity --> anti-modern, non abstract
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Davis, House and Street, 1931 - inspired by Leger, constructivists, and Lissitsky - POV of a man on the street, recapitulate modern city with designs for consumer products - crinolated, overlaying planar elements
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Eggling, Symphonie diagonale, 1921-24 - painted stop-motion - emphasized lines and their movement
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Ernst, Two Children Menaced by a Nightingale, 1924 - assemblage - knob represents the nightingale - fever image
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Kandinsky, Joyous Ascent, 1923 - Bauhaus - lithography = new industrialized process with art - not weighted according to conventional gravity - physiological shock of color having an emotional impact - breaking down barriers between body and psyche
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Klee, Electrical Spook, 1923 - Bauhaus - marionette/automaton possessing an aura/animism - reflection of changed status of people and objects - expressionless - self-contained - made from found materials including industrial
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Leger and Murphy, Ballet Mecanique, 1924 - dance of analogies combining worlds of objects - no narrative (or person) - mechanics, awareness of process
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Lissitzky, Proun 19D, 1922 - axonometry, form of spatial projection common in architecture - orthogonal lines remain parallel - arc of visual motion - three dimensional
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Lissitzky, Proun Room, 1923 - painting becomes three dimensional - pictorial space is anti-gravitational - not something displayed on a wall more so an emersion/baptism in the experience - becomes four-dimensional when a person enters animating the space with movement
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Lissitzky, The Abstract Cabinet: Demonstration Room, 1927-28 - brings new objects into architectural space - display museum space/architecture that is interactive - art made to be put in areas --> made to look at art as an archive, moment in time - each painting has a container akin to a specimen - does not aggrandize or rarify work, but positions it to be viewed - whole new museum experience is created with the purpose of examination
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Magritte, The Human Condition, 1933 - surrealist - inside looking out the window which is obstructed by a painting of the view; the painting within the painting perfectly matches the exterior implying that the canvas is not really there at all - irony of seeing the painting and landscape as contiguous
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Magritte, The Treachery of Images, 1929 - surrealist - image and caption - reversal; in opposition of each other - painting of a pipe - therefore a representation and "not a pipe" - calling into question what we see; provoking uncanny
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Maholy-Nagy, Light-Space Modulator, 1930 - sculpture/performance object - turns/revolves in and out creating moving shadows and reflections - meant to be filmed - metal patterns and clear glass planes - industrial appearance
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Miro, Head of a Catalan Peasant I, 1924 - surrealist - dream painting - colors underscore floating space - line organizes space
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Miro, The Birth of the World, 1925 - surrealist - dream painting - empty canvas with an object entering according to the artist's needs - inscribing free association - unrestricted interaction
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Miro, The Kiss, 1924 - surrealist - psychic automatism - open color fields and shifts - lines allow for free association - no visual gravity (unlike Magritte) - movement of line over energized color - Miro erotically encodes Matisse's 1911 - open field, line swimming in color
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Miro, ceci est la couleur de mes reves, 1925 - surrealist - word-photo signifies that the painting is a photo with the title
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O'Keeffe, Black Iris, 1926 - hyper-vision: super zoomed in - translating photography to her own color palette - repeated forms of flower with specific contours - hardly a foreground, middleground, or background - departing from convention - viewer is forced to look at the flower; control - leaves former abstractions, extending machine into nature - potentially phallic/suggestive
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O'Keeffe, Radiator Building, Night, New York, 1927
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Ray, Andre Breton's slipper-spoon, 1934 - surrealist - Breton's idea of nested spoons - Breton's recurring thought of Cinderella Ashtray - this piece exorcises this thought - stands in for slipper spoon that can only be captured in the aura of photography
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Ray, Untitled, 1924 - surrealist - doubling reinforces meaning in the real world (double exposure here)
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Schlemmer, Costumes for the Triadic Ballet at the Metropol Theater in Berlin, 1925 - Bauhaus - separate acts before different color backgrounds - combine folk theater/variety show and a ritual - shell around human form often with concentric circles - costumes create puppet-like figures out of the human
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Schwitters, Merzbild Rossfett (Horse Fat), 1919 - found object compilation - parts are vaguely regular, but the weathered surface suggests post-war struggles - discarded object used to create something new
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Schwitters, The Hanover Merzbau, 1933 - a grotto-like new level; under - alters sensibility of space by contours and lack of theme
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Schwitters, The Hanover Merzbau: The Merz Column, 1923 - column becomes architectural - accretive method of adding objects on top of one another - different than Lissitsky's "The Abstract Cabinet: Demonstration Room" --> order vs. chaos, clean architecture vs. building with object
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Sheeler, American Landscape, 1931 - manufactured object on the scale of machines - dissembling between sky and smoke stack - linear precision, organization - cycle of invention and inevitability of becoming obsolete - precisionism: marrying painting and photography
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Stella, Voice of the City of New York Interpreted, 1920-22 - shaped like an altarpiece; intended to evoke the holy experience of traveling around Manhattan - celebrating New York and its modernity - shows harbor, broadway, trains, bridge - embrace a machine-made environment - neon lights, carnivalesque
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Survage, Rhythme colore, 1913 - painted stop-motion - emphasized planes of color and their movement
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Tatlin, First Model of the Monument to the Third International, 1920 - constructivism: logical practice responding to the demands of a new collective society; joining art and industrial materials to create useful art - model is a monument to engineering - different volumes/levels correspond to different branches of the Soviet government who sought to spread revolution - object organized according to a new reality of space-time (general relativity) - based on new scientific understanding - beacon of dynamism signifies change: the new worker's state's total equity erases the hegemony of the past
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de Chirico, The Child's Brain, 1914 - surrealism: psychoanalysis of trauma from WWI; the unconscious, dreams, death drive - view of life as a series of unpredictable and uncontrollable shocks - male (father) looks down on a book representing forbidden knowledge that we gaze upon - ambiguity with eyes close - asleep? in a dream state? - ambiguity between male and female
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Rodchenko, Pure Red Color, Pure Yellow Color, Pure Blue Color, 1921 -productivism: explored inherent materiality, form, and color to capture the spirit of the technological modern age (coincided with the Bolshevik Revolution) - reduced to the most efficient understanding - color references illusionism - moving towards the grid and monochrome
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