Jackson Pollock, Lavendar Mist No. 1, 1950



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ART AFTER WWII

  • ABSTRACT EXPRESSIONISM “action painting”
  • MINIMALISM, CONCEPTUAL ART
  • POP-ART, OP-ART

Jackson Pollock, Lavendar Mist No. 1, 1950

  • compare p. 420

Willem de Kooning

  • Woman VI 1953
  • ABSTRACT EXPRESSIONISM

Willem de Kooning

  • Excavation
  • ABSTRACT EXPRESSIONISM

Rothko Untitled 1948

MARK ROTHKO Untitled, 1968

  • “color-field painting”
  • not in text; compare p. 421, Rothko Chapel

MARK ROTHKO No. 10, 1950

  • “color-field painting”
  • "We favor the simple expression of the complex thought. . . . We are for flat forms because they destroy illusion and reveal truth."

Rothko

Rothko

Clyfford Still, 1957, No.1

''What you see is what you see'' – Frank Stella, 1966

Frank Stella, Wolfeboro II, 1966

  • “post-painterly abstraction”

Frank Stella, Raqqa II, 1970

  • “post-painterly abstraction”
  • Harran II, 1967

Joseph Albers Homage to the Square, Red Series 1968

  • minimalism

Kenneth Noland, Thrust, 1963 45 x 45 in.

  • “post-painterly abstraction”

Andy Warhol, Orange Disaster No. 5, 1963

  • POP-ART
  • compare p. 422

Andy Warhol (1928-1987)

Andy Warhol (1928-1987)

Andy Warhol (1928-1987)

  • 1987
  • “What is an author?”
  • -- Roland Barthes

Lichtenstein, Roy Whaam! 1963 172 x 269 cm (68 x 106 in.) (two canvasses)

  • POP-ART

Victor Vasarely   Hungarian, born 1908 Vega-Nor, 1969 Oil on canvas, 78 3/4 x 78 3/4"

  • OP-ART
  • a democratic form of art that everyone could understand, not just those with certain types of educational backgrounds and experiences. Op Art serves that goal well. There is no story to tell, history to know, or symbolism essential to the work’s comprehension

Johns, Jasper Three Flags 1958 Encaustic on canvas 30 7/8 x 45 1/2 x 5 in

Jasper Johns 0 through 9 1961

Jasper Johns, Map, 1963

Jasper Johns Painted Bronze

CONCEPTUAL ART

Walter De Maria The Broken Kilometer

  • The Broken Kilometer, 1979, located at 393 West Broadway in New York City, is composed of 500 highly polished, round, solid brass rods, each measuring two meters in length and five centimeters (two inches) in diameter. The 500 rods are placed in five parallel rows of 100 rods each. The sculpture weighs 18 3/4 tons and would measure 3,280 feet if all the elements were laid end-to-end. Each rod is placed such that the spaces between the rods increase by 5mm with each consecutive space, from front to back; the first two rods of each row are placed 80mm apart, the last two rods are placed 580 mm apart. Metal halide stadium lights illuminate the work which is 45 feet wide and 125 feet long.

Spiral Jetty

Robert Smithson Spiral Jetty, 1970

  • textbook p. 436

Spiral Jetty

Spiral Jetty, 2003

and then one day . . .

Post-Modernism

Atwood quote

  • Everything is post these days, as if we’re all just a footnote to something earlier that was real enough to have a name of its own.
  • Elaine Risley, the main character in Cat’s Eye, a novel by Margaret Atwood, 1988

Ashbery quote

  • Attention, shoppers. From within the     inverted commas of a strambotto, seditious     whispering watermarks this time of day. Time to get    out and, as they say, about.

Destabilizes

  • The idea of the artwork as an autonomous or independent object
  • Interrogates
  • The idea of art history as a narrative and as a narrative of progress

in other words . . .

  • CHARACTERISTICS OF POST-MODERNISM:
  • QUOTATION, PASTISHE, COLLAGE
  • CHALLENGES AUTHORITY OF “MASTER” NARRATIVE – “contingency”
  • FOCUSES ON THE “CONSTRUCTED-NESS” OF NARRATIVE, AUTHORITY, REALITY (“deconstruction” is not just analysis)
  • see p. 431
  • trying to fire the canon . . .

James Rosenquist Vestigial Appendage, 1962 Oil on canvas, 72 x 93 1/4 in.

  • POP-ART

James Rosenquist    American, born 1933 Nomad, 1963 Oil on canvas, plastic, and wood, 90 x 141"

  • POP-ART

James Rosenquist     Welcome to the Water Planet 1987

  • POP-ART

James Rosenquist, Sight-seeing, 1962

  • POP-ART

Rauschenberg, Robert Monogram 1955-9 Freestanding combine 42 x 64 x 64 1/2 in

  • p. 422

extravagant intertextuality

  • “ ”

Tansey, Mark Derrida Queries de Man 1990 Oil on canvas 83 3/4 x 55 in.

  • Resembles a well-known illustration of Sherlock Holmes locked in a struggle with the evil Professor Moriarty
  • (vernacular art quotation)

Durand, Asher Kindred Spirits 1849 Oil on canvas 46 x 36 in

Hockney, David Model with Unfinished Self-Portrait 1977 Oil on canvas 60 x 60 in.

Velazquez, Las Meninas, 1656

Vermeer, The Allegory of Painting, c. 1665-70

Cindy Sherman

Cindy Sherman

Cindy Sherman

  • SELF-CREATION OR THE CREATION OF SELF THOURH MEDIA IMAGES? “De-centered self”
  • A sort of Performance art
  • POMO: meaning is derived not from individual images, but their relationship to each other and to mass culture & other media

Judy Chicago

  • The Dinner Party
  • HERSTORY
  • p. 440

Judy Chicago

  • MEDIUM?

Judy Chicago

  • Isabella d'Este, Renaissance noblewoman
  • Emily Dickenson

Mao Tse-tung

  • “A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery; it cannot be so refined, so leisurely and gentle, so temperate, kind, courteous, restrained and magnanimous. A revolution is . . . an act of violence.”
  • Utzon, built 1959-1972!!!
  • Building as sculpture – Sydney Opera House

ARCHITECTURE

  • 1ST field to use term (1946)
  • Famous text: Learning From Las Vegas
  • A return to ornamentation, but with quotation marks & a wink

Michael Graves

Michael Graves

  • U of Cincinnati
  • Pointless columns
  • “Porthole” windows
  • faux smokestacks

Michael Graves

  • Atlanta
  • 10 Peachtree Place
  • compare p. 434

Michael Graves

  • Portland Bldg
  • p. 434

Michael Graves

  • Portland Bldg
  • p. 434

Frank Gehry, Disney Concert Hall

  • compare p. 443

Frank Gehry, Disney Concert Hall

Frank Gehry, Disney Concert Hall

Diamond Ranch High School, Morphosis

Hypo Alpe-Adria Center in Klagenfurt, Austria, MAYNE, 2002

and now the return of . . .

  • EVERYTHING

Still life – example artist: Janet Fish

Still life – example artist: Janet Fish

Figurative art

  • Pearlstein, Philip Two Models on a Kilim Rug with Mirror 1983 Oil on canvas 90 x 72 in.

Portraiture

  • John Wulp, Sigourney, Charlotte, and Petals

Sharpe Center, Toronto

even Modernism!

  • AlliedWorks
  • Portland, OR

Carus residence, Illinois Brininstool & Lynch

Getty Museum Los Angeles, 1997 Richard Meier, architect

Getty Museum Los Angeles, 1997 Richard Meier, architect

Getty Museum Los Angeles, 1997 Richard Meier, architect

Andy Goldsworthy Knotweed Stalks Pushed into Lake Bottom February 20 and March 8-9, 1988 Derwent Water, Cumbria © Andy Goldsworthy

Andy Goldsworthy Ends of Bamboo November 1987 Kinagashima-Cho, Japan © Andy Goldsworthy

Andrew Goldsworthy

Daniel Libeskind

  • 1776’ tower

Libeskind WTC design

SUMMARY – POST WWII

  • MODERNISM CONTINUES – PROGRESS & MATERIALS; EACH WORK OF ART DICTATES ITS OWN TERMS [POLLOCK, abstract expressionism]
  • CONCEPTUAL ART – ULTIMATE CHALLENGE TO THE VERY IDEA OF ART, THE ULTIMATE CONCLUSION OF MODERNISM? [SMITHSON Spiral Jetty]
  • POST-MODERNISM – QUESTION NARRATIVE! [CHICAGO The Dinner Party]

Jackson Pollock, Lavendar Mist No. 1, 1950

  • compare p. 420

Robert Smithson Spiral Jetty, 1970

  • textbook p. 436

Judy Chicago

  • p. 440

music summary

  • ORDER & CHAOS
  • SURFACE CHAOS/INNER ORDER: Rite of Spring; serialism
  • SURFACE ORDER/INNER ORDER: minimalism (Reich, Music for 18)
  • SURFACE CHAOS/INNER CHAOS: chance methods (John Cage)


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