Art H 306 Prelim #1

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FUTURISM ideas

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-study relationship between art and public, art and everyday life (avant-garde)
-look toward the future, no connection to past (demolition)
-synesthesia

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FUTURISM techniques

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-use of technology/language of mass culture
-repetition drains work of uniqueness and focuses on music
-make abstract, dynamic patterns representing movement
-analogues between pictures and technology

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FUTURISM influences

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Picasso (analytic Cubism: fracture objects to create a frontality, 360-deg view)

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CONSTRUCTIVISM ideas

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-abandonment of mimetic/representation

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FUTURISM years

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early 1910s-20s

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Zurich DADA dates

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1916-20

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Z. DADA influences

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-horrors of WWI
-rationality led us to war, so reject it (esp. boirgeoise culture)
-opposed to oppressive rigidity in art/society

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Z. DADA practices

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-destruction of bourgeoisie (cause of war)
-move away from inplications of studio/commodity/etc.

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Z. DADA techniques

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-Cabaret Voltaire: repetition until meaning is lost, mystical aspects (German Dada not mystical but secular)
-emphasis on commercialism over individual, found materials

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CONSTRUCTIVISM dates

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1920s-early 30s

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CONSTRUCTIVISM ideas

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-attacking "easelism"
-how does one make art relative to the people in the face of Communism, which abandons private property?

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CONSTRUCTIVISM influences

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-Analytic Cubism- studying behavior/relationships of materials

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CONSTRUCTIVISM practices/techniques

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-break from language of sculpture, finding of "zeros" of painting
-use of labout/graphics
-notion of factura (properties of materials), tectonica (technological aspects, though may be faked)
-interventions into architecture

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DUCHAMP

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-readymade
-art is anti-optical (intentionally ugly)
-makes many philosophical jokes
-indexical marks (represents you- i.e. fingerprint)
-loss of subjectivity through geometrical renderings
-openness of art to random events (Large Glass)
-phenomenological experience
-site-specific installation (ties experience to surroundings)

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NEO-DADA ideas

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-anti-AbEx (gestural, etc.)
-Zen principles (see eshadow in painting)
-non-heroic approach to life
-randomness of gesture
-art as non-representational

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NEO-DADA influences

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-WWII, existentialism
-have to distance themselves from realism (suppressed in Europe)
-

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NEO-DADA techniques

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-encaustic (transparent, waxy)
-play with representations (targets, flags- "peculiar objects" that are physical and conceptual)

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ART BRUT/INFORMEL dates

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1940-1950

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ART BRUT/INFORMEL influences

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-WWII ideas of madness, crisis of values
-Surrealism (fetishism, dream interpretation, automatic drawings, cultivation of desire, juxtaposition) + baseness

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FLUXUS and HAPPENINGS dates

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1962-78 (early)

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FLUXUS/HAPPENINGS influences (SHARED)

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Duchamp, Cage, Rauschenberg, Bauhaus
-art no longer confined to canvas
-examination of body
-meaning of art as exchange

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FLUXUS/HAPPENINGS practices

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-new idea of readymade

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FLUXUS dates

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1960s

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FLUXUS characteristics

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-international (Japan)
-fixing objects is an act of violence
-artist as unprofessional, dispensable and replacable
-art as inclusive, self-sufficiency of audience
-"art-amusement"-FUN
-question idea of framing
-notion of temporality, passage of time

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FLUXUS influences

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-artists trying to find mode of working amongst post-WWII movement
-not as corrosive as DADA, but still attacking established meaning

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FLUXUS practices

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-video art

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HAPPENINGS ideas

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-try to break through artist/viewer gap
-beauty cannot be made after Holocaust, cannot totalize remnants

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HAPPENINGS practices

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-installations/performances

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SI ideas

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-art is a creation of situations that realize daily life
-alienation of world due to destruction of individual in mass media

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SI practices

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-derive: wandering through city, everything that needs to be said is already there and just needs to be put together
-unitary urbanism (status quo urbanism developed using other techniques)
-psychogeography (how the individual intentionally/un- organizes their environment)
-society of the spectacle: fragmentation of everyday life

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LETTRIST INTERNATIONAL

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-situationist too, repetition of spectacle through mass media, alphabet is talismanic force
-detournement- reusing mass media to create new meanings (usu. opposed to orig. meaning)

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SI dates

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1957-72

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CONTEMPORARY ART (movements)

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New Realists, Independent Group

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NEW REALISM ideas

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-explore daily life, making installations
-index daily life (actual things assembled), bring attention to a ubiquitous activity
-people consist of the commodities they consume, no internality

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POP ART years

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1960s

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POP ART influences

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-growth of counterculture (anti-Nam), emphasis on heterogeny and fragmentation
-movement from painting to "mapping"

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IG influences

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-drab postwar London, hit by shock of modernity, more scarcity so consumer culture has a large impact

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IG practices

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-seminars, research, multiple interests

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IG ideas

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-ideas of future (bright, post-apocalyptic)- tomorrow is something to be feared and anticipated, commodified and mediated

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AMERICAN POP ART

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-simulacrum (copy of a copy of a copy with no original)
-Warhol also focuses on what happens when things go wrong in shiny new world
-when/how is art different from commodity?

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MINIMALISM influences

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-Geometric Abstraction (Martin, grids, remove subjectivity, logic of knowing one part of canvas then know all)
-Constructivism
-Readymade
-Greenberg- move away from limits of medium, focus on experience w/ body (phenomenology)- problematizing Greenberg
-no depth, no author, sculptural components or ensembles working with space, repeating elements
-Johns: can be Greenberg but still brings in outside life
-Stella: flat painting but not rectangular, industrial paints, serial logic

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MINIMALISM dates

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early to late 1960s

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MINIMALISM practices

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-involve body to see work
-industrial readymades
-construction/assemblage through serial logic using readymades

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ECCENTRIC ABSTRACTION ideas

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-use of Surrealist tools (language of the uncanny, sexualize everyday objects), part-object relations (Freud)
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EX AB practices

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-use of highly sexualized forms (suggestive)
-gendered concepts (female artists)
-seriality in some works, but more eccentric and sexualized