9a post wwii pomo
TRANSCRIPT
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ART AFTER WWII
ABSTRACT EXPRESSIONISM “action painting”
MINIMALISM, CONCEPTUAL ART
POP-ART, OP-ART
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Jackson Pollock, Lavendar Mist No. 1, 1950 compare p. 420
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Willem de Kooning
Woman VI1953
ABSTRACTEXPRESSIONISM
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Willem de Kooning
Excavation
ABSTRACTEXPRESSIONISM
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RothkoUntitled1948
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MARK ROTHKOUntitled, 1968
“color-field painting”
not in text; compare p. 421, Rothko Chapel
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MARK ROTHKONo. 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."
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Rothko
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Rothko
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Clyfford Still, 1957, No.1
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''What you see is what you see'' – Frank Stella, 1966
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Frank Stella, Wolfeboro II, 1966
“post-painterly abstraction”
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Frank Stella, Raqqa II, 1970
“post-painterly abstraction”
Harran II, 1967
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Joseph Albers Homage to the Square, Red Series1968
minimalism
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Kenneth Noland, Thrust, 196345 x 45 in.
“post-painterly abstraction”
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Andy Warhol, Orange Disaster
No. 5, 1963
POP-ART
compare p. 422
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Andy Warhol (1928-1987)
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Andy Warhol (1928-1987)
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Andy Warhol (1928-1987)
1987
“What is an author?”
-- Roland Barthes
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Lichtenstein, RoyWhaam!1963172 x 269 cm (68 x 106 in.) (two canvasses)
POP-ART
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Victor Vasarely Hungarian, born 1908Vega-Nor, 1969Oil 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
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Johns, JasperThree Flags1958Encaustic on canvas30 7/8 x 45 1/2 x 5 in
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Jasper Johns
0 through 91961
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Jasper Johns, Map, 1963
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Jasper Johns
Painted Bronze
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CONCEPTUAL ART
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Walter De MariaThe 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.
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Spiral Jetty
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Robert Smithson Spiral Jetty, 1970
textbook p. 436
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Spiral Jetty
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Spiral Jetty, 2003
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and then one day . . .
all the isms became wasms
- Robert Hughes
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Post-Modernism
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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
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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.
From a poem, “Where Shall I Wander,” by John Ashbery, pub. 2005
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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
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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 . . .
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James RosenquistVestigial Appendage, 1962Oil on canvas, 72 x 93 1/4 in.
POP-ART
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James Rosenquist American, born 1933Nomad, 1963Oil on canvas, plastic, and wood, 90 x 141"
POP-ART
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James Rosenquist Welcome to the Water Planet1987
POP-ART
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James Rosenquist, Sight-seeing, 1962 POP-ART
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Rauschenberg, RobertMonogram1955-9Freestanding combine42 x 64 x 64 1/2 in
p. 422
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extravagant intertextuality
“ ”
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Tansey, MarkDerrida Queries de Man1990Oil on canvas83 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)
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Durand, AsherKindred Spirits1849Oil on canvas46 x 36 in
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Hockney, DavidModel with Unfinished Self-Portrait1977Oil on canvas60 x 60 in.
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Velazquez, Las
Meninas, 1656
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Vermeer,The Allegory of Painting,c. 1665-70
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Cindy Sherman
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Cindy Sherman
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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
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Judy Chicago
The Dinner Party
HERSTORY
p. 440
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Judy Chicago
MEDIUM?
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Judy Chicago
Isabella d'Este, Renaissance noblewoman
Emily Dickenson
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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.”
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Utzon, built 1959-1972!!!
Building as sculpture – Sydney Opera House
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ARCHITECTURE
1ST field to use term (1946)
Famous text: Learning From Las Vegas
A return to ornamentation, but with quotation marks & a wink
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Michael Graves
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Michael Graves
U of Cincinnati
Pointless columns
“Porthole” windows
faux smokestacks
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Michael Graves
Atlanta
10 Peachtree Place
compare p. 434
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Michael Graves
Portland Bldg
p. 434
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Michael Graves
Portland Bldg
p. 434
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Frank Gehry, Disney Concert Hall
compare p. 443
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Frank Gehry, Disney Concert Hall
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Frank Gehry, Disney Concert Hall
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Diamond Ranch High School, Morphosis
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Hypo Alpe-Adria Center in Klagenfurt, Austria, MAYNE, 2002
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and now the return of . . .
EVERYTHING
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Still life – example artist: Janet Fish
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Still life – example artist: Janet Fish
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Figurative art
Pearlstein, PhilipTwo Models on a Kilim Rug with Mirror1983Oil on canvas90 x 72 in.
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Portraiture
John Wulp, Sigourney, Charlotte, and Petals
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Sharpe Center, Toronto
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even Modernism!
AlliedWorks
Portland, OR
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Carus residence, IllinoisBrininstool & Lynch
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Getty MuseumLos Angeles, 1997Richard Meier, architect
A MIGHTY FORTRESS FOR MODERNISM
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Getty MuseumLos Angeles, 1997Richard Meier, architect
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Getty MuseumLos Angeles, 1997Richard Meier, architect
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Andy GoldsworthyKnotweed Stalks Pushed into Lake BottomFebruary 20 and March 8-9, 1988Derwent Water, Cumbria© Andy Goldsworthy
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Andy GoldsworthyEnds of BambooNovember 1987Kinagashima-Cho, Japan© Andy Goldsworthy
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Andrew Goldsworthy
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Daniel Libeskind1776’ tower
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Libeskind WTC design
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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]
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Jackson Pollock, Lavendar Mist No. 1, 1950 compare p. 420
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Robert Smithson Spiral Jetty, 1970
textbook p. 436
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Judy Chicago
p. 440
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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)