Lesson 10 Flashcards
Land Art (Earth Art) 1968
-coined by Robert Smithson
-art movement in which landscape / the work of are inextricably linked
-art form that Is carted in nature using natural materials / organic media, with introduced materials such as concrete / Metal / asphalt / mineral pigment
->reject the traditional art object - expand definition o sculptures -> move art outside (conventional art work structure of talliers / museums)
-landscape is their means of creation
-open located well away from civilisation left to change /erode under natural conditions
-pioneered a category of art called site-specific sculpture
began with the gourd exhibition “Earth Work” at the Dawn Gallery New York
Robert Smithson 1938-1973
-construe sculptures form scattered materials found ways to confuse the views understanding of sculptures (mirror / confusion scales)
-work sometimes referred to site / object outside of the gallery
-concept of Site and Onsite -> form being a location outside the gallery - later being a body of objects / documentation inside the gallery
-concept of entropy - predicts the event exhaustion / collapse of any give system
->interest in geology / mineralogy
Rober Smithson “Spiral Jetty” great Salt lake Utah 1970
Richard long (British) 1945
-great respect for nature - basic shapes (circles)
-some evoked the mysterious connotations of ancient stone circles
-different mode of presentation - to bring his experience of nature back into the museum or gallery
-painting by applying mud by hand to a wall
-broke triton sculptural methods by conceiving his work outside of the studio
-lightness of his interventions of the gourd
Christo 1935-2020
-rebelled against abstraction (too theoretical)
-manifestly physical art composed of real thing
-wrapping everyday objects (cans, bottles, furniture)
1961 -collaborate with his wife Jeanne-Claude
-Industrial material held in paste with irregular tied ropes (wrappings)
-fabrics - wrap object -> the coverings partly obscured the object’s contours / hampered its function => transform gin it into an aesthetic presence
-principle of alteration of one element in a context affected all of its parts
-realisation of temporary projects -varied notion of obscuring (wrapping / blocking / altering context)
Environmental art - large scale made possible by he use of industrial techniqeu / engineering
Christo “Wrapped Reichstag” Berlin 1971-1995
Arte Povera (late 1960’s-1970’s)
(poor materials)
-broad category of art being produced by an international cross section of artist
-influential avant-garde movement to emerge in Europe
->use of commonplace materials that might evoke a pre-industrial age (each / rocks / clothing/ paper)
-reaction against the modernist abstract paintings
->sculptures
-rejected what they perceived as its scientific rationalism (American Minimalism)
->juxtaposition of new / old
-modernity threatened to erase our sense of memory along with all signs f the past
-> new / old complicate out send of the effect of passing time
->interstellar in materiality / physicality (everyday life) - performances / installations
Michelangelo Pistoletto “Three Fils on a balcony” 1962-1964
tree woman pained on mirror
-> created the effect that you are the art and they observe you or what ever the mirror reflects.
Art becomes the spectator and you the art
-placed near to the floor to make it blend into the space
Giuseppe Penone “Tree of 12 Meters” 1980-1982
Carved out the original / young tree out of the stem of an all tree
replicated the young soul of the tree bringing it back to life
Happening / Performance Art
initiated by the Futurist / Dadaist
Happening coined by Allan Kaprow 1959 - name for the antinarrative theatrical pieces stages in studios / galleries / offbeat location - usually with direct audience involvement
radically altered the conversion role of audience - assaulted by an array of auditory / visual / physical phenomena
->every item a pice was performed / exhibited it would never be the same as he previous time
=> Happening could evolve (unique encode for each individual who partook of the experience)
no definite/ consistent style of Happenings
->operated with the fundamental believe that art code be brought into the realm of everyday life => break down the boundary between art and life
the performance was a temporary experience (could not be exhibited in a museum)
-only artefacts remain for original Happening are photographs / oral histories
Art previously beed defined by the art objet itself - art now was define by the action / activity/ occasion / experience (fleeing)
Allan Kaprow 1927-2006
Happenings - spontanes /non-linear action / revolution the practice of performance art
focused on a intellectual / theorised view of art -> rejected the monumental nature of Abstract Expressionist
-focusing of the act of their production
-artist shift to attention to “non-concrete” /ephemeral modes of production
Art was no long an object to be viewed / hanged
-> art couldn’t be anything at all (inducing movement / sound /scent
-formal aesthetic no longer relevant
=> momentary experience felt by the viewer = as significant as a paint on canvas
Allan Kaprow “Fluids” 1967
John Cage 1912-1992
-revolutionising modern music through his incorporation of unconventional instrumentation / the idea of enviroemtonal music dictated by chance
-influenced by Asia philosophies = harmony in nature
-collaboration with Cunningham / Rauschenberg
Break dow the division between music / performance / painting / dane
Merce Cunningham 1919-2009
-one of the most important choreographer of our time (dancers)
-expanded the frontiers of dane / contemporary visual / performing arts
worked wit John Cage (lifepatner) -< together they proposed numbers of radical dance / music (should be created independently of one another)
Cunningham / Rauschenberg
until 1965 traveled together
- Rauschenberg design set /costumes (light director / stage manager)
Nam June Paik (korean) 1932-2006
meet John Cage -> Marcel Duchamp (significan influence)
-major force in the avant-garde through performances
-first performance actions into his audio
1963 first exposition of Music “Electronic Television”
-> transition form composer to performance artist => inventor of a new art form = engagement
=> material site of television as an instrument
Nam June Paik “TV Cello” 1971
design to thing about the possible innovation o fTV’s
It is make to look like a cello out TV’s and theft he is playing
Fluxus (early 1960’s-1970’s)
-“flow” conceived by American writer Maciunas
international group - wide rage of media
-public concerts / festivals (publications)
required the participation of spectators in order to be complete (performance art)
-stressed the interest shard by all the artist in manifesting time / space as concrete phenomena (manifest 1962)
-influenced by Jon cages concrete music / Black Mountain college / Mercy Cunningham / Robert Rauschenberg
typical Fluxus concert - rapid Serie sof performances of shot events of scored section / music -> physical performances
music based on non-musical sound sources - humorous involving the audience
redution /repetition / improvisation /chance
Body Art 1960
variety of different approaches:
->performance art - artists directly concerned with the body in the form of improved / choreographed action / happenings / staged events
-> explorations o the body in variety of other media including painting / sculpture / photography / film / video
-concerned with issues of gender / personal identity
=> relationship of body and mind (physical endurance - test limits to the body / mind to suffer pain)
visceral /abject of the body - focusing on bodily substances / nourishment
->nudes / internal /external parts - body is seen as the vehicle for language
Gina Pane 1939-1990
-series of “actions” - deep symbolic charge -> emotions / reactions of rejection - provoked by the wound she used to inflict upon herself (razor blades)
-> body was offered as a mirror to the “Anaesthetised” spectator / blood as life-bearing gift have
symbolic vocabulary: theme of the sacred - main structures underpinning her work
motif of the cross - self suffering body
Gina Pane “Escalade non anesthésiée” 1971
Vito Acconci 1940
1969 began visual work
1970-1974 -series of sctivites and performances
-recoded steps of his voice
1980 - turend to permanent sculptures / installations / furniture
early performance controversial - assumed boundaries between public / private space - between audience / performer
-his own body as the simultaneous subject / object of the work
-intimacy / trust / power
-cultural / political implication
Marina Abramović 1946
Performance artist
-> explore relationship between performer and audience / limits of the body / possibilities of the mind
->ritualistic strain - putting herself in grave danger ( perfuming lengthly / harmful )
-she view her art almost as a sacrificial / relier rite
-themes: trust / endurance / cleansing / exhaustion / departure
-the body is the point of departure for any spirit development (not simply the surface)
-collaborated with Illy - exploits their duality to investigate ideas such as the division between mind / body; Nature/ culture; active/passive ; Male/female
Marina Abramović “Art must be Beautiful, Art must be beautiful” 1975
Marina Abramović “ Rhythm 0” 1977
Marina Abramović “Impoderabilia” 1977
Cindy Sherman 1954
-> fascinated by disguise and make-up
-photographs - portraits of herself in various scenarios that parody stereotype of some
drawn form popular culture : old movies/ television soaps / magazines
-series of untitled “slim Stills” - in roles of ideas (Marilyn Monroe)
-introspection to provocative sensuality - also elements of horror / decay
art history - grotesque creatures in period costumes
-ironic message - that creation is impossible without the use of prototype = identity lie sin appearance (no reality)
Cindy Sherman “Untitled 153” 1985
Photorealism / Hyper-Realism 1970’s
-artist whose wok depended heavily on photographs which they often projected onto canvas - allowing images to be replicated with precision / accuracy
-strong interest in realism in art ( non idealism / abstraction)
photorealism = the notion of realism by successfully mixing together that which is real with that which is unreal
-they do not deny their dependence on photographs ( before it was cheating)
-it reintroduced the importance of process / deliberate planning (not improvisation) - draftsmanship / exacting brushwork
-> tradition techniques of academic art are again of great significance - is again prised
Duane Hanson 1925-1996
-artist / sculptor
-work hyperrealistic
-pop influenced style
->uncanny / life-size depiction of solitary tourist / derelicts / housewives
-> explores social issues and the complexities of American identity
-central member of international Photorealist
-favoured naturalistic depiction (over abstract motifs)
Duane Händen “Tourists II” 1988
Domenica Gnoli “Hair Partition” 1968
Conceptual Art (mid 1960’s -1970’s)
-prised idea over form / visual components of art works
-took myriad form: performance / Happenings/ ephemera
-> rejected standard ideas of art
-> the articulation of an artistic idea suffices as a work of art
-reduced material presence of the work to an absolute minimum for art need not look like traditional work of art (physical form)
-it a succession of avant-garde movements (Cubism / Dada / Abstract Expressionism) - expanding the boundary of art
-> put themself at the extrem end of this avant-garde tradition
-its self-conscious / self-referential (like Duchamp)
-created are the tis about art (pushed limits by using minimal materials / text)
Joseph Kosuth 1945
-pioneered the use of words in place of visual imagery
-relationship between ideas / the image / words use to convey them
Ideas as Idea 1966-1968 - eliminated objects and images completely in order to focus on meaning convey pure with language
images / traces of artistic skill / craft show be eliminated form art so that ideas could be conveyed as directly / immediate / purely as possible
-no obstacles to conveying ideas (images = obstacles)
how do we experience / comprehend / respond to language
Jospeh Kosuth “ one and Three Chairs” 1965
Sol Le Witt 1928-207
-leading role in the Conceptual movement
-artist as a generator of Idas was instrumental in the transition form the model to the postmodern era
Intellectual / pragmatic / new dimension to the artist role
the idea cold be the work of art
artist should be able to conceive of a work and then with delegate its aqua production to others or perhaps even never make it at all
refined vocabulary of visual art (line s/ basic colour / simplified shapes) - applied according to formulate of his won invention
-direction for production work of art because the work itself
-emphasis on process / matters
Joseph Beuys (German) 1921-1986
suggested how art may exercise a healing effect (artist / audience) when it take up psychological / social / political subjects
-incorporation animal fat / felt (materials that had profound person meaning to the artist)
art / common materials and ones “everyday life” were ultimacy inseparable
everyone is an artist
-> particular activities of individuals do matter but fiat full meaning only if they lad t boudin a new society base on solidarity / creativity / freedom
art has increasingly become engaged with social commentary / political activism
Joseph Beuys “ I like America and America likes me “ 1974
Emilio Isgrò 1937
Visual Poetry movement - focal word-image interpretation on the principle of “reason” apparent denial of the written text
-compositions on a visual / meaning level (beyond what instantly visible)
“Erasure” is not a method of destruction / removal but can instead be a moment of revelation / highly what is concealed
Text is hidden
it is specific / unequivocal linguist sign
Emilio Isgrò “Freedom”
