Lesson 8 Flashcards
New Dada 1952
Neo-Dada movement - initiated by John Cage (composer) / Robert Rauschenberg (artist) / Merce Cunningham (dancer)
-rebelled against the emotionally charged paintings of the Abstract Expressionists
-opposing their intreat in the emphasis on chance individuality / interaction with the audience / multiple medial all combined in a singular work
-encouraged viewers to look beyond tradition aesthetic standards / interpret meaning thought critical thing
-works of art are intermediaries in a process that the artist begins and the viewer completes
-the viewer’s interpretation of a work of art (not the artist intent) determin it’s meaning
Rober Rauschenberg 1925-2008
-produced server series of abstract paintings
-1954 - produce paintings which combined objects trouvés (postcard) into a frantic / physically substantial surface = Gap between art and life
->combines because of their mixture of techniques (stoped 1962)
-applying found images through the photomechanical process of screen-printing (painted over the surface in oils
-after 1964 he remains interest in textual effects and spontaneous methods of organising his mergers (more personal touch)
-did not create any radical new directions in the 1980’s
-> regarded his are as an agent of social interchange and communication
Robert Rauschenberg “Monogram” 1955-1959
Jasper Johns 1930
-friendship with Rauschenberg
-1954 - sign of his commitment to creating original work = destroyed all of the paintings / drawings he had made up to that point
- inspired by Cage’s aesthetic theories of indeterminacy / change and Duchamp readymade
-bucked the dominant trend of Abstract Expressionism (including everyday images / materials)
-way encaustic technique to create sensuous / tactile surfaces -> painted familiar things : targets / numerals / American flag
-use of shredded newspaper / found object / mass produced goods -> erased the division between fine art and mass culture
Jasper Johns “Flag” 1954-1955
American flag- “things the mind already knows” its his ideal subject because of the host of varied meaning it carries with it. This foster the perceptual ambiguity / semiotic play at the heart of his work
Lucio Fontana 1899-1968
Milan form 1928-1930
-abandoned any lingering figurative elects -> strict / coherent form a abstraction
-used bot last geometrical shapes / organic biomorphic forms
-search for geometric perfection -> group of ceramics
-> object are suggest in a fragmented / violet disturbed form - draw attention to the manipulation clay
-1946 wen to Argentina - collaboration on the Manifest blanco -> questioned the tradition reliance in West art on flat support (canvas on paper)
=> work in three / four physical dimensions
Concept spaziale = matter should be transform into energy in order to invade space in a dynamic form (feverish / violent / subversive / radical production )
Buchi (=holes) 1949
Tagli (=slashes) mid 1950’s
->assaulted the Hereford sacrosanct surfe of the canvas by make in holes ( slashing it with sharp linear cuts
Lucio Fontana “Concetto Spaziale; Attese; “ 1963-1964
Lucio Fondant “Neon Stuckre for the IX Trienale in Mialn” 1951
Piero Manzoni 1933-1963
-conceptual artist
-self-taught
-> question the tradition aims / methods of teaching
-He stressed the relationship between artistic expression and the collective unconscious -> thought extreme self-awareness the artist is able to tap mythical sources / realise authentic / universal values
-> the canvas should remain an area of freedom
-1957 - began the Achromes series
-some in raw gesso / cut /pleated canvas
=>desire to creat a space devoid of any image or color / mark for material
-last part of live new materials : cotton, thought temperature changes it could alter the colour / sones / waste paper
1958 - questioned the nature of the art object in work that prefigured Conceptual art
Piero Manzoni “Chrome” 1958-1959
Piero Manzoni “Consumption dynamic art by the art-devouring public” 1960
Piero Manzoni “artist’s shit” 1961
Lucian Freud (British) 1922-2011
-painting experimenting with Surrealism
-own artistic identity -> realist work ( mood of alienation)
-artist is free to explore formal and option problems (not expression / interpretation problems)
late 1950’s lost interest in achieving meticulous sheen on the surface of his picture
-brushmarks became spatial as he began to describe the face / body in terms of shape / structure
-> attention to tonal detail
-close relationship with sitters / busted palette
Lucian Freud “ali” 1974
Francis Bacon (British) 1909-1992
-began to base his imagery largely on a great variety of photographs
-> combined elects form sever completely different types in the same picture
-principal source: image in newspapers, film stills (Edward Muybride)
picture were not intended to have a precise meaning But to “trap reality”
-> greatest intensity without falling into illusion
1953/54 -less distorted style - based on images of contemporary life / specific friends or acquaintances
-> man dressed like an executive beard in a darker room in front of curtains
-painted the gave the figure an insubstantial almost ghost-like character
1950’s - subject singer figures (nude) -> form are simplified and solidly modelled (body given bulk / volume)
Francis Bacon “Study after Velazquez’s Portrait of Popo Innocent X” 1953
Alberto Giacometti 1901-1966
most important contribution to surrealist sculpture
explores theme derived from Freudian psychoanalysis (sexuality, obsession, trauma)
-> influence by primitive art
- some resemble games / toys / architectural models
-encourage the viewer to physically interact with the (very radical at that time)
1930’s abandoned abstraction / surrealism
-> interstellar in how to reposent the human figure in conning illusion of real space
-> to capture a palpable sen of spatial distance => solution whittling the figures down to the slenderest proportions
-after war he led the way in creating a sty that summed up the Existential philosophy’s interest in perception / alienation / anxiety
-his figures represented human beings alone in the world turned to themself (fail to communicate, despite the overwhelming desire to reach out)
Alberto Giacometti “suspended Ball” 1930
Alberto Giacometti “Tall Figure II and TalL Figure II” 1960
