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de Beaufort AA ch24
- 2. Following World War II Europe in ruins Millions of deaths Prominent artists fled to the U.S. Modernism found new home in New York Living in a world that had the power to destroy in minutes Whatever an artist did became art Restless and wildly creative time Rudolph Burckhardt. Jackson Pollock Painting in East Hampton, Long Island. 1950.
- 3. 1 The New York School Abstract Expressionism Culmination of Fauves, German Expressionists, and Surrealism Realms other than representation and narrative Jackson Pollock Painted for the age of the “atom bomb and the radio,” leading to innovative techniques Dripping thin paint onto canvas Rudolph Burckhardt. Jackson Pollock Painting in East Hampton, Long Island. 1950.
- 4. 1 Abstract Expressionism Jackson Pollock Autumn Rhythm (Number 30) Action painting Controlled, dancing movements to place paint Jackson Pollock. Autumn Rhythm (Number 30). 1950. Oil on canvas. 105” × 207”.
- 5. 1 Abstract Expressionism Willem de Kooning Spontaneous brushwork Provocative use of shapes Human figure underlies many of his paintings Woman and Bicycle Huge painting with a ferocious female Toothy smile repeated in necklace Controversial Monstrous image of women Willem de Kooning. Woman and Bicycle. 1952–53. Oil, enamel, and charcoal on linen. 76- 1⁄2” × 49-1⁄8”
- 6. 1 Abstract Expressionism Lee Krasner Participated in Depression-era programs Moved into abstraction Impelled by urge for more personal expression Untitled No foreground, background Quick, textured strokes Explores abstract symbols Lee Krasner. Untitled. 1949. Oil on composition board. 48” × 37”.
- 7. 1 David Smith, Cubi series Cubist framework with elemental energy Based on masses and planes balanced above viewer’s eye level David Smith. Cubi XVII. 1963. Polished stainless steel. 107-3⁄4” × 64-3⁄8” × 38-1⁄8”.
- 8. 1 Color Field Painting Painting that consists of large areas of color No obvious structure, central focus, or dynamic balance Mark Rothko Early pioneer Blue, Orange, Red Superimposed thin layers of paint Sensuous appeal, monumental presence Mark Rothko. Blue, Orange, Red. 1961. Oil on canvas. 90-1⁄4” × 81-1⁄4”.
- 9. 1 Color Field Painting Helen Frankenthaler Straining technique Paint texture eliminated by coaxing liquid colors into shapes on an unprimed canvas Fluid, organic shapes Mountains and Sea Spontaneous work painted in one day Helen Frankenthaler. Mountains and Sea. 1952. Oil and charcoal on canvas. 86-3⁄8” × 117-1⁄4”.
- 10. 1 Color Field Painting Robert Motherwell, Elegy to the Spanish Republic Heavy black shapes crush lighter shapes behind Destruction of Spanish democracy by General Franco in the 1930s Robert Motherwell. Elegy to the Spanish Republic, No. 34. 1953–54. Oil on canvas. 80” × 100”.
- 11. 1 Assemblage Loose conglomeration of seemingly random objects Robert Rauschenberg “Combine-paintings” include Abstract Expressionistic brushwork with ordinary objects and collage materials Disorder of urban civilization Monogram Angora goat standing on a painting Robert Rauschenberg. Monogram. 1955–59. Freestanding combine. 42” × 64” × 64-1⁄2”.
- 12. 1 Interested in difference between signs (emblems that carry meaning) and art Power of Abstract Expressionist forms combined with familiar representations Target with Four Faces Irony relating to Dada and Pop Art Jasper Johns. Target with Four Faces. 1955. Assemblage: encaustic on newspaper and collage on canvas with objects, surmounted by four tinted plaster faces in wood box with hinged front. Overall dimensions with box open: 33-5⁄8” × 26” × 3”.
- 13. Events and Happenings Art no longer defined as stable aesthetic objects Artists began to create living, moving art events Gutai (Embodiment) A radical Japanese movement in which art could be an event rather than an object Saburo Murakami, Passing Through Symbolically destroyed blank sheets of paper mounted on frames in performance Foreshadowed happenings and performance art in the West Saburo Murakami. Passing Through. 1956. Performance.
- 14. 1 Jean Tinguely Machines that work in unexpected ways Homage to New York Assemblage designed to destroy itself Happenings Cooperative events in which viewers become active participants Partly planned, partly spontaneous Jean Tinguely. Homage to New York: A Self-Constructing, Self- Destructing Work of Art. 1960..
- 15. 1 Pop Art Incorporates real objects or mass-production techniques Photographic screenprinting Slick look and ironic attitude separate Pop Art works from assemblages Richard Hamilton Published a list of Pop Art qualities Just What Is It That Makes Today's Homes So Different, So Appealing? Parody of superficiality, materialism of popular culture Richard Hamilton. Just What Is It That Makes Today's Homes So Different, So Appealing? 1956. Collage. 10-1⁄4” × 9-3⁄4”.
- 16. 1 A billboard painter who incorporated experiences in more mature style Imagery from American popular culture F-111 Filled all four walls of gallery in which it was exhibited Symbols of affluence and destruction James Rosenquist. F-111. 1965. Oil on canvas with aluminum. Four parts. 10’ × 86’.
- 17. 1 Most visible exponent of Pop Art Consumer products common subjects Kellogg’s Corn Flakes Boxes Enabled public to assess omnipresent impact of mass marketing Andy Warhol. Kellogg’s Corn Flakes Boxes. 1971. Silkscreen painted wood. 27” × 24” × 19”.
- 18. 1 Celebrities’ status as consumer product Marilyn Diptych Repeated, packaged commodity Andy Warhol. Marilyn Diptych. 1962. Synthetic polymer paint and silkscreen ink on canvas. 6’10” × 57”.
- 19. 1 Comic-book image Bright primary colors Impersonal surfaces Printing dots Commentary on a world obsessed with consumer goods and spectacles Roy Lichtenstein. Drowning Girl. 1963. Oil and magna on canvas. 67-5⁄8” × 66- 3⁄4”.
- 20. 1 Minimal Art Art referring to nothing outside itself Donald Judd Sheet metal and other industrial materials Untitled work of 1967 No story, no personal expression, no content Focus of color and form Donald Judd. Untitled. 1967. Stainless steel and Plexiglas, 10 units. 9-1/2’ × 40” × 31”.
- 21. 1 Suppressed brush strokes in favor of uniform application with precise edges Ellsworth Kelly’s Blue Green Yellow Orange Red Self-explanatory study of pure hues Ellsworth Kelly. Blue Green Yellow Orange Red. 1966. Oil on canvas, five joined panels. 60” × 240”.
- 22. 1 Frank Stella, Agbatana III Distinctive outer profile created by internal shapes without figure– ground relationship “What you see is what you see. Frank Stella. Agbatana III. 1968. Fluorescent acrylic on canvas. 120” × 180”.
- 23. 1 Conceptual Art In which an idea takes the place of the art object Creator merely carries out the idea Joseph Kosuth, One and Three Chairs Shows that we process each version of the three chairs differently Joseph Kosuth. One and Three Chairs. 1965. Wooden folding chair, photographic copy of a chair, and photographic enlargement of dictionary definition of a chair. Chair 32-3⁄8” × 14-7⁄8” × 20-7⁄8”; photo panel 36” × 24- 1⁄8”; text panel 24” × 24-1⁄8”.
- 24. 1 Site-Specific Works and Earthworks Artist’s response to the location determines the composition, scale, medium, and content of the piece Christo and Jeanne-Claude Temporary works of art often using fabric Running Fence Ribbon of white cloth captured wind Involved people, process, object, place Christo and Jeanne-Claude. Running Fence. Sonoma and Marin Counties, California. 1972–76. Nylon fabric and steel poles. 18’ × 24-1⁄2 miles.
- 25. 1 Four hundred stainless-steel poles arranged in New Mexico Lightning conductors during electrical storms and precise, shining objects in the sun Walter De Maria. The Lightning Field. 1977. Quemado, New Mexico. 400 stainless-steel poles. Average pole height 20’7”; land area 1 mile × 1 kilometer.
- 26. 1 Earthworks Sculptural forms made of earth, rocks, and sometimes plants Robert Smithson A founder of earthworks movement Spiral Jetty Great Salt Lake, Utah In and out of view corresponding with changes in water level Universal spiral design Site-specific works almost never sold Art as experience, not commodity Robert Smithson. Spiral Jetty. Great Salt Lake, Utah. 1970. Earthwork. Length 1,500’, width 15'.
- 27. 1 Early Feminism Early feminists felt that making art about their experience might doom them to obscurity in male- dominated world of art. The Dinner Party, Judy Chicago Collaborative effort of many women Triangular table with place settings honoring women from history Embroidered runners and ceramic plates Judy Chicago. The Dinner Party. 1979. Mixed media. 48’ × 42’ × 3’.
- 28. 1 Women Artists in Revolution (WAR) East Coast feminists Nancy Spero, Rebirth of Venus Later scroll presenting women in uncommon roles Venus split to reveal woman sprinter Woman as love object gives way to woman as achiever. Nancy Spero. Rebirth of Venus (detail). 1984. Handprinting on paper. 12” × 62.
- 29. 1 Performance Art Actions performed before an audience or nature Visual art and drama Artists eliminate the object, concentrate on the event itself Joseph Beuys, I Like America and America Likes Me Lived for a week with coyote in a gallery Meant to heal breach between the business- oriented culture and Wild West Joseph Beuys. I Like America and America Likes Me. 1974. Performance at René Block Gallery.
- 30. 1 Ana Mendieta, Tree of Life Covered body with mud and stood against ancient tree trunks Equivalence between femaleness and natural processes, rhythm of earth Ana Mendieta. Tree of Life. 1976. Lifetime color photograph. 20” × 13- 1⁄4”.
- 31. 1 Decoy Gang War Victim Cautionary flares around “victim” in the street in strife-torn LA News channels did not realize hoax Drew attention to urban social problem Pushed boundaries of art Asco (Willie Herrón III, Humberto Sandoval, Gronk, Patssi Valdez, Harry Gamboa Jr.). Decoy Gang War Victim. 1975.