Author:
Anonymous
ID:
117546
Filename:
Mod + Contemp Art Quiz 3
Updated:
2011-11-17 16:25:02
Tags:
art history
Folders:

Description:
Slides for Quiz 3
Show Answers:

  1. Autumn Rhythm, Jackson Pollock 1950

    • Too large to take in all at once, almost literally
    • unfolds as you gaze across it


    • Shows relinquishing of SOME control, in that gravity and
    • physics takes power of where EXACTLY paint lands on canvas instead of brush

    • Innovation of Abstract Expressionist, non-compositional;
    • no moment in the canvas is more or less important than any other; “any-other-ness”


    • It is COMPLETELY abstract, as in other are no figures
    • buried beneath paint

    • Autonomy of art- Canvas/art is outside social life,
    • outside everyday life---autonomy can perhaps be achieved through
    • anti-illusionism/opticality

    -Mural sized (important quality for Pollock)

    -all-over-ness, element of repetition as well

    -non compositional

    • -non hierarchical (all three of these mean no part of
    • canvas is any more important than another)

    • -paintbrush is divorced from canvas (brush does not
    • touch canvas)

    • -OPTICALITY- only eyes can traverse, not a space for our
    • bodies, no clear content or subject matter, lines do not provide contour of
    • anything

    • -an anti-drawing, painting about painting (purely
    • Greenberg)

    -skene (?)

    • -GOOD EXAMPLE OF MODERNIST AUTONOMY- paintings about
    • painting, do not reference anything else, no real-world reference,

    • -this withdrawal was important in the US for many
    • reasons, one of them being the restrictive art forms being forced on artists in
    • Europe during this time period
  2. Free Wheeler, Cy Twombly 1955

    • Canvas seems destroyed, defaced; Presents different
    • relationship from Pollock (“I am here” becomes “I was here”). Seems graffitied


    Abstract Expressionist
  3. 4'33", John Cage 1951

    • Actual performance was the moments before music is
    • usually played (walking to piano, putting up sheet music, pulling out bench)
    • and sitting silently, hoping to hear the silence, which he realized does not
    • exist. We hear ambient noises, but
    • dismiss them so quickly that we do not remember them.

    Was an idea emulated in other abstract expressionists pieces, including White Painting (3 Panels) by Rauschenberg
  4. White Painting (Three Panels), Robert Rauschenberg 1951

    • Cage describes this as NOT an absence of art, or a
    • negation. This is a presencing, the making visible
    • of things now perceived that are normally dismissed. Rather than paintings being empty, they are filled with
    • passing shadows, dust that collectss

    -response to abstract expressionism

    -formally have the same all-over-ness


    • -during this time, there is a concerted effort from
    • trained artists such as Rauschenberg, to de-skill themselves, to render
    • the artists language as something that is not lofty or specialized, a
    • democratization of the art-making practice perhaps

    -What makes something art? Answer becomes the concept, not skill (BIG shift in art)

    • -NOT empty, has shadows, dust, opened up work to its
    • environment, to the effects of time

    • -rejects modernism, dependant on its environment on the
    • people who pass in front of it, “landing strip” for lights and shadows and all
    • other ephemeral things


    Post modern REJECTION of abstract expressionism
  5. Factum I and II, Robert Rauschenberg 1957

    • Worked on these simultanously, are never separated from each other (shared by MOCA
    • and MOMA). One is NOT a copy of
    • the other; are a critique of expressionist gesture; captures language of
    • Rauschenberg, however does not attempt to capture spontaneous or unconscious
    • nature as Pollock did. Betrays expressionist claims to authenticity and
    • originality




    • Flatbed picture plane- internal psychic shift; works of
    • art are not oriented to us on the vertical, on the optical that de koonings and pollocks are, they are not
    • oriented to our vision, but instead to our space of working; works like these
    • do not mke sense to Greenbergian sense; Steinberg
    • believed works like these let the world in again; canvas is not about the
    • artists internal turmoil, nor this pure opticality- they are about YOUR lives, all these things ou would find on your
    • own desk

    • Art object ceases to
    • make claims to transcendence, to revelation, instead is about the lives that
    • you lead as the viewers, and is about the everyday world; remarkable shift that
    • happens in 1950’s as response to abstract expressionism and paintings like “Autumn
    • Rhythm” (REJECTION OF MODERNIST AUTONOMY)
  6. Flag, Jasper Johns 1954-55

    Encaustic, oil and collage on fabric mounted on plywood

    • (collage
    • element)

    mummifies gestures in surface

    Ready-made design

    Recalls all-overness of abstract expressionism
  7. Challenging Mud, Kazuo Shiraga 1955

    Gutai (Gutai Group)= tangible, or concrete




    • Interesting translation of certain qualities of abstract
    • expressionism into completely different environment, can be construed as
    • creative misreading; exact opposite of opticality (completely figurative, yet shows that clash of artist and art, that confrontation)
  8. Bed, Rauschenberg 1955

    Horizontality of bed relates to "making" as Renaissance verticality of painting related to "seeing", so says Steinberg
  9. Drowning Girl, Roy Lichtenstein 1963

    -made sketch, then project it onto the canvas

    • -ben day dots stenciled
    • on

    • -very clear mix of the high and low (brow), and shades
    • of grey with regards to authorship (we know the author of the original comic
    • strip);
  10. Little Big Painting, Roy Lichtenstein 1965

    Pop artists are also engaging in the __ of the absract expressionists

    • -rendering calls up an abstract expressionist brush
    • stroke, but involves skill (sketch, projection onto canvas)

    • -suggests artist’s hand, attest to spontaneity, but are
    • completely contrived (not painted with spontaneity at all)

    • -still have reference to popular culture with Ben Day
    • dots