Lesson 7 - history of art
Bohemia Lies by the Sea
Anselm Kiefer, 1996 Huge canvas, represents a street or a path. Use of colours, we can tell it's neo-expressionism. Thickness of the brushstroke.
Georg Baselitz
Georg Baselitz was enormously influential in showing a generation of German artists how they might come to terms with issues of art and national identity in the wake of the Second World War. He revived the German Expressionism that had been denounced by the Nazis, and returned the human figure to a central position in painting affirming his belief in romantic traditions that earlier Expressionists had adopted in protest against aspects of modern life. Although the figure has often been central in Baselitz's painting, his approach to it suggests a deep unease about the possibility of celebrating humanity in the wake of the Holocaust and WWII. Among his early series are images of Heroes, and Partisans, and yet these warriors seem awkward giants, clad in tattered rags. His later strategy of depicting figures upside-down, who have been traditionally seen as outcasts from society, might be read as another recognition of the same difficulty. His handling sometimes suggests awkward scratches and smears, an effect which compounds the anguish of the figures he depicts.
Big Night down the drain
Georg Baselitz, 1963 Strong thick, mixed together with strong subjects. A boy, express the uncomfortable situation. The body is not described. This technique, sexual, violent, very strong situation that the boy has to face. Not a child anymore.
Elke
Georg Baselitz, 1965 Everything around her is unreginzable., upside down, she's crying or suffering. Dimension are huge, makes it more unreal.
Anselm Kiefer
was a neo-expressionist who reexamined the German History of WWII and the Holocaust and the feelings of guilt these actions evoked in the German people. The landscapes were bleak and charred
Vito Acconci
Acconci initially devoted himself to poetry and writing but began to produce visual work in 1969, most of which incorporates subversive social comment. From 1970 until 1974 he staged a series of activities and performances and after 1974 and for the remainder of the 1970s Acconci's presence was only registered at most through recorded tapes of his voice. In the 1980s Acconci turned to permanent sculptures and installations and he also produced sculpture and furniture made from natural and incongruous massproduced objects. Acconci's early performances were extremely controversial, transgressing assumed boundaries between public and private space, and between audience and performer. Positioning his own body as the simultaneous subject and object of the work, Acconci's early video tapes took advantage of the medium's self-reflexive potential in mediating his own and the viewer's attention. Consistently exploring the dynamics of intimacy, trust, and power, the focus of Acconci's projects gradually moved from his physical body toward the psychology of interpersonal transactions, and later, to the cultural and political implications of the performative space he set up for the camera.
Cindy sherman
American photographer who depicted herself in stereotypical female roles in Untitled Film Stills While still growing up Sherman was drawn to the television environment of the 1960s and fascinated by disguise and makeup. Her photographs are portraits of herself in various scenarios that parody stereotypes of woman. A panoply of characters and settings is drawn from sources of popular culture: old movies, television soaps and pulp magazines. Sherman rapidly rose to celebrity status in the international art world during the early 1980s with the presentation of a series of untitled 'film stills' in various group and solo exhibitions across America and Europe. Among 130 'film stills' taken between 1978 and 1980 are portraits of Sherman in the role of such screen idols as Sophia Loren and Marilyn Monroe. While the mood of Sherman's early works ranges from quiet introspection to provocative sensuality, there are elements of horror and decay in the series from 1988-9. Studies from the early 1990s make pointed caricatures of characters depicted through art history, with Sherman appearing as a grotesque creature in period costume. Her approach forms an ironic message that creation is impossible without the use of prototypes; identity lies in appearance, not in reality. In this, the artist has assimilated, even while retaining a critical stance, the visual tyranny of television, advertising and magazines.
Julian Schnabel
American, born 1951 is a neo-expressionist who broke up china plates which he glued to board and painted. His work became an amalgamation of paint and mosaic so the work became a low-relief sculpture
Deutschlands geisteshelden, german spiritual heroes
Anselm Kiefer, 1973 Made with wood, lights of the fire is all the meaning the light has in church, life and the path. Also a fire in a wood structure makes (náði ekki)
The Seven Heavenly Palaces
Anselm Kiefer, 2004 In Milan The site-specific installation, created for HangarBicocca in 2004, is one of the most important works by the German artist Anselm Kiefer. Expressly for this space Kiefer has designed seven monumental towers that symbolize the mystical experience of the ascent through the seven levels of spirituality. The towers, which consist of a "stratification" of structural elements made of reinforced concrete and lead, adopt the "universal section" of the container for the shipping of goods as a modular "measure", a recurrent feature in the artist's most recent output and symbol of the globalization of the urban landscape. Kiefer has experimented with the use of this "material of our time" to create his own aesthetic utopia at his workshop in Barjac, France, where he has been living since 1993. The towers (which have been given the titles Falling Stars, Deposit of Stars/Sternenlager, Die Sefiroth, Tzim-Tzum, Shevirat Ha-Kelim, Tiqqun and The Seven Heavenly Palaces) represent the metaphysical principles corresponding to the various levels of human participation in the divine. They are also associated with the emotional situations that characterize the daily life of every individual and that can lend it order and meaning.
Body Art
Body art covers a wide range of art from about 1960 on. Art in which the human body is used in art and "as" art
Tracey Emin
British, A consummate storyteller, Tracey Emin engages the viewer with her candid exploration of universal emotions. Well-known for her confessional art, Tracey Emin reveals intimate details from her life to engage the viewer with her expressions of universal emotions. Her ability to integrate her work and personal life enables Emin to establish an intimacy with the viewer. Tracey shows us her own bed, in all its embarrassing glory. Empty booze bottles, fag butts, stained sheets, worn panties: the bloody aftermath of a nervous breakdown. By presenting her bed as art, Tracey Emin shares her most personal space, revealing she is as insecure and imperfect as the rest of the world.
Keith Harin
Cartoon style, bright colours, simple, cartoon language, simple language One of the key figures in New york's East https://www.youtube.com/watch?v=Z0Q7K3DWILM
Afrodizzia
Chris Ofili, 1996 Black people that was famous, real elephant shit to link his tradition.
Untitled, Film still #8
Cindy Sherman, 1978 Dresses up so she isn't recognisable. Something you can see in movies/newspaper. Cliché of the artist, she has a drink in her hand. She takes the picture herself.
Untitled #153
Cindy Sherman, 1985 Victim of a murder, violent on women, not related to the fake world, related to the world. Takes the picture herself
Untitled #216
Cindy Sherman, 1989 Gets inspired by „jean Fouquet, Madonna and child, 1450". Not as powerful, ironic approach to the reality, closer to the pop art, inspired by the everyday life.
Untitled #463
Cindy Sherman, 2007/2008 4 different personas she create, 4 different version of her (cindy), picture of some kind of society. Saturday nights.
The Physical Impossibility of Death in the Mind of Someone Living
Damien Hirst, 1991 Makes it look like the shark is swimming, explains in the title, we cant picture us self death, so he represents living shark that's dead.
Chloropamide
Damien Hirst, 1996
Lullaby, the seasons
Damien Hirst, 2002 Lost it value, the colours and shapes, the mirror behind, we adore pills, make us survive any kind of illness.
Love of gof
Damien Hirst, 2007 Real skull with real diamonds,
Terra d'Uomo
Enzo Cucchi, 1980 - Transavantgarde Same line, represent the big tree, the dog and the small trees in the same line, surrelisim
Name
Francesco Clemente, 1983 - Transavantgarde The painting is bad, figurative, two paintings, unreal elements surrellisim
The wood on its head
Georg Baselitz, 1969 Upside down, situation of a bad feeling in the front of the feeling. We regonize everything here, uses thick brushstrokes, not unreal colours but unreal situation. Something we cant relate because it's not real but it's real
Escalade non anesthésiée
Gina Pane, 1971 Walking up the stairs without understanding. The stairs can be anything. Willing to be better, pain by difficulty.
Action sentimentale
Gina Pane, 1973 Relationship, men gifs her roses, there's also bad scenes in relationship. She gets cuts by the roses.
Graffiti Art
Graffiti is a style of painting associated with hip-hop, a cultural movement which sprang up in various American cities, especially on New York subway trains, during the 1970s and 1980s. Commonly refers to decorative imagery applied by paint or other means to buildings, public transport or other property (also called "Street Art" or "Subway Art")
Untitled (Zenith 1/2)
Jean-Michel Basquiat and Andy Warhol, 1984 Warhol asked Basquiat to collaborate, everything is unpersonal
Untitled (head)
Jean-Michel Basquiat, 1981 Full of references, like a diary, self-portrait, we see teeth, half face/half . colours are unreal
Notary
Jean-Michel Basquiat, 1983 When he enter the gallery-world, he kept the idea of wall, he uses piece of wood, rough support , kept words in his art. Symbol he was famous for, (c með hringi). Childish very basic various, almost traditional.
Flexible
Jean-Michel Basquiat, 1984 Represent human figure, we can see the lungs, his hands connects, the red underlines the slef-love, not a canvas, pieces of wood putted together.
Fat Chair
Joseph Beuys, 1964-1985 Analysis what was the impact of people in nature, human life. Not ready-made. Fat and chair. Fat disappear with heat. Put it in a box with a source of a heat, in a long time people could understand the changing of the object. Changing the properties. Shape and everything changed.
The Pack
Joseph Beuys, 1969 Installation, objects, not focusing on one expression, very simple and very understandable, so simple that we cant understand what he wants to represent. Lamp, mat and a slate, the message is war is crucial. Group of soldiers. Extreme situation. Incredible difficult.
I Like America and America Likes Me
Joseph Beuys, 1974 Performance inside of a gallery, with a real Coyote . (To demostarte... náði ekki??, skil ekki) He had only a stick and blanket to protect him. Inspired by people living in the wild, He lost his wild and become a civilised and „a dog", for one month everyone could see how their relationship have changed.
7000 Oaks: City Forestation Instead of City Administration
Joseph Beuys, 1982-1987 For each oak he planted he putted a stone next to it, stone mile, important distance, represent the importance the tree have. He asked the public to help him. Involving the public in performances.
Joseph Kosuth
Joseph Kosuth was one of the originators of Conceptual art in the mid-1960s. He pioneered the use of words in place of visual imagery of any kind and explored the relationship between ideas and the images and words used to convey them. His series of One and Three installations (1965), in which he assembled an object, a photograph of that object, and an enlarged photographic copy of the dictionary definition of it, explored these relationships directly. His enlarged photostats of dictionary definitions in his series Art as Idea as Idea (1966-68) eliminated objects and images completely in order to focus on meaning conveyed purely with language. Kosuth believed that images and any traces of artistic skill and craft should be eliminated from art so that ideas could be conveyed as directly, immediately, and purely as possible. There should be no obstacles to conveying ideas, and so images should be eliminated since he considered them obstacles. Since the 1970s, he has made numerous site-specific installations that continue to explore how we experience, comprehend, and respond to language.
Box, Cube, Empty, Clear, Glass - a Description
Joseph Kosuth, 1965 Describe what it is, definition of the object and every definition is real and true. Work with the definition of something. We have in mind the same object.
One and Three Chairs
Joseph Kosuth, 1965 Describes an object, real object, chair is also a definition of an object. It's not a chair, it's a imagine.
Four Colors four words
Joseph Kosuth, 1966 Very simple, object define itself, says what it is.
The student of Prague
Julian Schnabel, 1983 Represent religion, sensual panel, three parts, material he choose is ceramic plates. All over the place, makes it so different with other paintings. Snowy landscape with trees.
Fakires
Julian Schnabel, 1993 Collage, words, goes from figuration to abstraction, uses the words to describe the object, we don't have a image of any Fakires. Mix of collage and painting. We have colours and shapes,. Opposite process.
Untitled (christ's last day) VI
Julian Schnabel, 2007 Does not represent a person. But uses a real person of inner part of the body, scalp, we regonize the shape. Figuration is back in the artist.
Capoeira Dancers
Keith Haring, 1987 Sculptor
Retrospect
Keith Haring, 1989 Person, dogs, symbols, represent situation that aren't always realistic
Damien Hirst
Leading figure of the group Young British Artists. His works are explicitly concerned with the fundamental dilemmas of human existence; his constant themes have included the fragility of life, society's reluctance to confront death, and the nature of love and desire, often clothed in titles which exist somewhere between the naive and the disingenuous. Dead animals are frequently used in Hirst's installations, forcing viewers to consider their own and society's attitudes to death. Containers such as aquariums and vitrines are used as devices to impose control on the fragile subject-matter contained within them and as barriers between the viewer and the viewed. The animals are preserved as in life, but at the same time are emphatically dead, with their entrails and flesh exposed. Hirst's paintings can be seen as a foil to his sculptural work, though they are similarly inconclusive. The 'spot' paintings are named after pharmaceutical stimulants and narcotics, the chemical enhancers of human emotion, and yet take the form of mechanical and unemotional Minimalist paintings. Their detachment is further emphasized by the exploitation of procedures that can be simply carried out by assistants under his instruction. Hirst's interest in contemporary society is further reflected in collaborative pop music projects and in his designs for the Pharmacy and Quo Vadis restaurants, London
Gina Pane (1929-1990)
Made a deep impression on the art of the 1970s with a series of „action" carrying a deep symbolic charge. Gina Pane has a symbolic vocabulary: the theme of the scared. for example, is one of the main structures underpinning her work.
Art Must Be Beautiful, Artist Must Be Beautiful
Marina Abramovic, 1975 Beauty, she brushes her hair, the first thing that women does. Starts brushing her hair at regular speed, but then she goes faster and fasters. Violent action in art.
Rhythm 0
Marina Abramovic, 1977 She prepares some instruments, oil, honey etc. and something hurtful and something dangerous. Chain, hammer etc. Ask the public to interact with her with these instruments. (video). Stood in the middle of a gallery, the public went more violent and violent. Someone put a gun to her head.
imponderabilia
Marina Abramovic, 1977 The artwork shows relationship between man and a women, stands close to each other and ask the public to get by. They are both naked, embarrassed action. Needing to go though naked people.
The Artist is Present
Marina Abramovic, 2010 8 hours without moving, asking the public to sit in front of her and says nothing. Peopler are crying, embarrassed.
San Francesco
Mimmo Paladino, 1993 - Transavantgarde Regonizeable images
Neo-Expressionism
Neo-expressionism is a style of late modernist or early-postmodern painting and sculpture that emerged in the late 1970s. Neo-expressionists were sometimes called Transavantgarde, Junge Wilde or Neue Wilden. It is characterized by intense subjectivity and rough handling of materials. An art movement that emerged in the 1970s and that reflects the artists' interest in the expressive capability of art, seen earlier in German Expressionism and Abstract Expressionism.
Transavantgarde
New wave of figuration = transavantvgarde The Italian art critic Achille Bonito Oliva used the term "Transavanguardia" (beyond the avant-garde) in Flash Art magazine in October 1979, when referring to international NeoExpressionism. But since then it has been used only to describe the work of Italian artists working in the style during the 1980s and 1990s. They include Sandro Chia (born 1946), Francesco Clemente (born 1952), Enzo Cucchi (born 1949), and Mimmo Paladino (born, 1948). Transavantgarde artists employed a free, figurative style of painting, with nostalgic references to the Renaissance and its iconography. They painted large-scale works in oil, including realistic and imaginary portraits, religious and allegorical history paintings, and were inspired also by the Symbolists as well as the colorism of the Fauvists. Chia incorporated Italian Mannerism, Cubism, Futurism and Fauvism in his narrative religious works; Paladino composed large mythological pictures with both geometric and figurative motifs; Cucchi produced romantic Surrealism-inspired scenes of giants and mountains, and incorporated the use of extra items, made from metal or clay, in his painted works; Clemente was noted for his self-portraiture and intimate figurative works.
Chris Ofili
Ofili has built an international reputation with his works that bridge the sacred and the profane, popular culture and beliefs. His exuberant paintings are renowned for their rich layering and inventive use of media, including balls of elephant dung that punctuate the canvas and support them at their base, as well as glitter, resin, map pins and magazine cut-outs. Ofili's early works draw on a wide range of influences, from Zimbabwean cave painting to blaxploitation movies, fusing comic book heroes and icons of funk and hip-hop. While adopting a simplified colour palette and pared-down forms, his recent works continue to draw on diverse sources of inspiration, and are full of references to sensual and Biblical themes as well as explore Trinidad's landscape and mythology.
Marina Abramovic
Performance artist who began her career in the early 1970s. Her work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind. When performing the only thing left is the memory.
Water Bearer
Sandro Chia, 1981 Just two elements, fish and a person, very traditional
Peter Zumthor, Bruder Klaus Field Chapel, 2007
Spirital space that is not a real church, inside there's no door, it's always open, hole in the structure, no roof, connected to the sky and outdoor. Natural environment.
Banksy
Stencils, controversial images, sometimes he uses something that is already existing. Social messages, The English artist known as Banksy has become famous for his graffiti art, which has appeared throughout London and other locations, from Los Angeles to Melbourne. Arguably the perfect example of postmodernist art, Banksy's satirical stencilled images are a mixture of pure vandalism, narcissistic posturing, irreverent humour, vivid imagery if rather mediocre painting, and left-wing politics. One of the most controversial of 20th century painters, his identity remains as yet unknown, although media speculation suggests his name is Robert or Robin Banks, or Robin Gunningham. In addition to his mural painting, which he also promotes through a variety of stunts (or happenings), Banksy has been involved in filmmaking and writing. His work typically combines humorous, striking imagery with some sort of anti-establishment message or slogan. Although, or perhaps because, his avant garde art sells for six-figure sums at Sotheby's and other auction houses, he has become a highly contentious figure within the world of popular culture. Is he following in the footsteps of Marcel Duchamp and Dada, or is he simply an opportunist trying to make a buck out of his stencil painting?
My Bed
Tracey Emin, 1998 Allows public to get to his most private place, not ready-made (to personal), takes what real in her life.
Self-inflicted incisions
Vito Acconci, 1972 Bites himself, what we have after the performance is videos and photographs, it doesn't happened again. The public watch him.
Mur Island
Vito Acconci, 2003 Bridge, not a regular bridge, he created an area in the middle of a bridge where people can interact.
Untitled by Keith Haring, 1982
We can a tv with a nuclear explosion
Young Britsih Artist
first appeared on the scene in the 1980s, and were officially recognized in 1997 in the "Sensation" exhibition. Owing much to early 20th century styles like Dada and Surrealism, their work is often called "Britart." The group comprised a number of painters, sculptors, conceptual and installation artists working in the United Kingdom, many of whom attended Goldsmiths College in London, its members gained considerable media coverage for their shocking artworks and dominated British art during the 1990s. Leading members are Damien Hirst and Tracey Emin. Arguably, many YBAs would never have succeeded but for the patronage and promotion of their works by millionaire contemporary art collector Charles Saatchi who, by 1992, was not only Hirst's principal patron, but also the biggest sponsor for the other Young British Artists. In response to the collapse of the contemporary art market in London, Saatchi hosted a series of exhibitions at his Saatchi Gallery, promoting the name "Young British Art" from which the movement retrospectively acquired its identity. In 1997, Young British Artists went mainstream when the London Royal Academy, in conjunction with Saatchi, hosted "Sensation", a definitive exhibition of YBA art, amid no little controversy. It then travelled to the Brooklyn Museum of Art in New York. In 1999, Tracey Emin's work "My Bed" was nominated for the Turner Prize, while in 2000, YBA exhibits were included in the new Tate Modern, all of which confirmed the established reputation of the group.
Joseph Beuys (1921-1986
horizontal artist, performance and happenings artist https://www.youtube.com/watch?v=e7pIGGcIoLk Joseph Beuys came to be loosely associated with that era's international, proto-Conceptual art movement, Fluxus. Beuys's diverse body of work ranges from traditional media of drawing, painting, and sculpture, to process-oriented, or time-based "action" art, the performance of which suggested how art may exercise a healing effect (on both the artist and the audience) when it takes up psychological, social, and/or political subjects. Beuys is especially famous for works incorporating animal fat and felt, two common materials - one organic, the other fabricated, or industrial - that had profound personal meaning to the artist. They were also recurring motifs in works suggesting that art, common materials, and one's "everyday life" were ultimately inseparable. From roughly the 1950s through the early 1980s, Beuys demonstrated how art might originate in personal experience yet also address universal artistic, political, and/or social ideas. According to Beuys, "everyone is an artist", in fact each human being has a creative potential in Beuys' eyes. This potential is to be realized in communion with others. So the particular activities of individuals do matter but gain full meaning only if they lead to building a new society based on solidarity, creativity and freedom. In this regard, Beuys's work signals a new era in which art has increasingly become engaged with social commentary and political activism.
Jean-Michel Basquiat
https://www.youtube.com/watch?v=JX02QQXfb_o Emerged from the „punk" scene in New York as a gritty, street-smart graffiti artist who successfully crossed over from his "downtown" origins to the International art gallery critic
Conceptual Art
https://www.youtube.com/watch?v=VHLs76HLon4 Conceptual art is a movement that prizes ideas over the formal or visual components of art works. An amalgam of various tendencies rather than a tightly cohesive movement, Conceptualism took myriad forms, such as performances, happenings, and ephemera. From the mid-1960s through the mid-1970s Conceptual artists produced works and writings that completely rejected standard ideas of art. Their chief claim - that the articulation of an artistic idea suffices as a work of art - implied that, as Duchamps' Readymades before them had rattled the very definition of the work of art, concerns such as aesthetics, expression, skill and marketability were all irrelevant standards by which art was usually judged. So drastically simplified, it might seem to many people that what passes for Conceptual art is not in fact "art" at all. Conceptual artists reduced the material presence of the work to an absolute minimum for art need not look like a traditional work of art, or even take any physical form at all. But it is important to understand Conceptual art in a succession of avant-garde movements (Cubism, Dada, Abstract Expressionism, Pop, etc.) that succeeded in self-consciously expanding the boundaries of art. Conceptualists put themselves at the extreme end of this avant-garde tradition. Conceptual artists successfully redefine the concept of a work of art to the extent that their efforts are widely accepted as art by collectors, gallerists, and museum curators. The analysis of art that was pursued by many Conceptual artists encouraged them to believe that if the artist began the artwork, the museum or gallery and the audience in some way completed it. Much Conceptual art is self-conscious or self-referential. Like Duchamp and other modernists, they created art that is about art, and pushed its limits by using minimal materials and even text.