Exam 3 slide Ids Flashcards
Degenerate Art Exhibition
Nazi Party
1937
Installation
German
Degenerate Art Exhibition
Nazi Party
1937
Installation
German
Jean Fautrier
Head of a Hostage No. 14
1944
Oil on Paper
French
Adolph Gottlieb
Masquerade
1945
Oil and Tempera on Canvas
American
Jackson Pollock
Number 1A, 1948
1948
Oil and enamel on unprimed canvas
American
Willem De Kooning,
Woman I,
1950-2,
oil on canvas
American
painting high impasto here again.
De Kooning is an art historically engaged artist
uses the idea of Ciaroscuro and explores things differently
exploring the “push pull”
he makes his choices in making this pictures carefully, (hard to believe)
Series of work on Women.
paints, scrapes, paints again.
Six large scale paintings like this that he made.
finished work isn’t so much like a resolution, more looks like a state of battle still.
showing process, how they arrived
Kenneth Noland,
17th Stage,
1964,
acrylic on canvas
American
exercise in visual instruction, pure, flat, optimality.
Helen Frankenthaler,
Mountains and Sea,
1952,
oil on canvas
American
Greenberg champions her, was her lover for a while, later marries Motherwell.
But through Greenberg meets people like Pollock
Greenberg grooms her as an art student.
she also paints on the ground like pollock, a canvas that she stains with fluid pigments, thinned out water paints. The unprimed surface is porous, allows the paint to seep into the surface,, making it completely flat.
The feeling of a place rather than indicative of a specific place.
Greenberg never writes about her though, mysoginy abounds
Frank Stella,
Die Fahne hoch!,
1959,
enamel on canvas
American
Up with the flag!
Stella was included in Fried’s book on opticality.
liked to produce his works quickly, so he could “go back to watching tv”
Deductive Structure—for Stella, width of stretcher to width of brush to width of stripes.
makes a series in which he uses the deductive structure.
working in series to “teach us how to see”
one of the first artists to be linked to Minimalism
Anthony Caro,
Prairie,
1967,
steel painted yellow
English
painting unifies the pieces and emphasizes their pictorial quality.
color deliberate choice related to the title and implied
the sculpture is lightly fixed, as you walk towards it it moves slightly, emphasizing that prairie grass feel.
Caro-
initially apprentice to Henry Moore, but his own style is drastically different than the organic style of Moore
painted his scultpure, kept it kind of in the now, doesnt look old. He didnt want any of his ssculpture associated with aging or aging processes.
designed his sculpture to be directly on the floor, making it a part of the viewers immediate environment
the painting also kind of dematerializes the sculpture, viweing it more like lines…
Geometry of fear…look up
David Smith,
Cubi,
1963-4,
polished stainless steel,
American
Series began in 1961.
softly reflective, responsive to environment. burnished so relecting colors etc but not mirror
using industrially produced materials in the form of the steel pieces and assembling them.
David Smith
super super important for american sculpture
Welding metal, makes for easy rethinking and redoing forms . using this technique the artist’s hand is in control the whole time, rather than sending macquette of to workshop to make like with marble or something.
looking at surrealists.
likes the changing aspect.
Rosenberg wouldve liked his ideas.
Smith felt that working in metals was important because of the age in which he was working. Relevant to contemporary times. struggles of living in the 20th c.
He later becomes preoccupied with totem figures
got away from doing any type of sketching, went more like direct carving, improvisational, spontaneous
Robert Morris,
Solo Exhibition, Green Gallery, NYC,
1964-5
white painted Plywood
American
Size is important to Morris,
the Beams are as long as a human is tall, generally.
white painted plywood.
breaks down barrier between the art and what you walk around things in you normal life.
the objects are so neutral that they draw attention to their orientation.
Fried does not like minimalism, he thinks it is taking the investigation too far by referring only to itself. They are so neutral that they have evacuated any type of symbolic content or reference so they become just objects. He thinks it needs to be something further to be a part of the artistic realm.
Also felt it had an element of theatricality, thereby undermining the value of the art.
Tony Smith,
Die,
1962,
steel, oiled finish
American
minimalist sculptor.
interested in using things that were mass produced, industrial products and materials.
5x5x5 big enough to be imposing but small enough to not seem like architecture. how interact with regard to human scale is important to the experience.
Kazuo Shiraga,
Challenge to the Mud,
1955,
performance,
Japanese
Shiraga also did the feet painting.
exploring the sequence of explosive bodily movments
use of mud emphasises the expression like Pollock was going for
Gutai very influenced by Pollock. predate happenings
Yves Klein,
Blue Monchrome, IKB 79,
1959,
paint on canvas on wood,
French
short, productive lifespan before heart attack death.
Leap into the void”” part of his persona.
Mae a whole series of the Blue Monochrome pictures. this pigment becomes his signature pigment.
The blue made out of Lapiz Lazuli was more exensive than gold.
all of these IKB paintings were same size etc, but priced differently.
interested in the commercial aspects of art and duplicity
his Blue Period exhibition
Piero Manzoni,
Merda d’ Artiste n.069,
1961,
artist’s shit in a sealed and labeled metal can
Italian
how ascribe value to art, commericality of art. If art is crap than the reverse is also true…..
his living scultpure:
again male artist inscribing art on female body
consider parallels in femail body exploitation
act of annunciation
Yoko Ono,
Cut Piece,
1965,
performance,
Japanese
encourages audience members to come on stage andd interact with her. shears with her, invited to ccome up and cut the clothing. video of it
Robert Rauschenberg,
White Painting,
1951,
oil on canvas,
American
Landing pad for shadows
about reflecting or retelling what is happening in the gallery.
interactive interface between the art and the viewer.
viewer has to engage with it to make it happen.
Regarding a Greenberg view, this would have been too theatrical, was about the audience and interaction. also not experimental in terms of painting, not technical enough.
in contrast with pollock and abstract expressionists that wanted to be in their paintings, an expression of self.
Rauschenberg
was at the Black Mountain College, made sets for Merce Cunningham, friends with John Cage.
“My art is an invitation to look elsewhere” to shift focus so that the spectator looks at the world
Rauschenberg felt that there was not essential “I” for a person, therefore couldn’t be captured in the painting, in contrast with abstract expressionists.
liked Cage and Duchamp
wanting to break down boundaries between art and life, working in that gap.
Robert Rauschenberg,
Erased de Kooning Drawing,
1953,
mixed media on paper,
American
found object”” asked de Kooning for a drawing when Rausch. was still a student.
subtractive indexicality-the erasure rather than the drawing.
Jasper Johns,
Target with Plaster Casts,
1955,
encaustic and collage on canvas with objects,
American
While the subversion in Flag went largely unnoticed, not so with this one largely due to the plater cast body parts at top.
Robert Morris buys and donates it to the MOMA to avoid them having controversy
representational and found objects
the casts are in boxes that can be closed or not
St. Sebastian becomes an icon for homosexual suffering in later decades.
Johns works are very quiet objects, they don’t shout.
Jasper Johns,
Flag,
1954-5,
encaustic, oil and collage on fabric mounted on plywood.
American
he and Rauschenberg are interested in finding out if they can reduplicate the same thing over and over.
Johns rises to fame in 1958 when discovered by famous gallery owner Castelli
encaustic is an ancient technique, used by Egyptians with funereal connotations. Also formal effect and the index is fossilized, the gesture hardened on the painting.
underneath the encaustic is pasted pages from newspapers, advertisements, cartoons. Dissent under the smooth surface of agreement and uniformity
Steinburg commentary: not overtly critical, borders are prescribed, paints it flat. his objects are always whole, complete objects not parts. chooses these flat but representational objects on purpose.
“These objects are associated with sufferance rather than action”
context in 1955 is the Red Scare, suspicion of everyone, McCarthyism.
this flag is supposed to get under the skin. in the context of anti-communist hysteria…
