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37 Cards in this Set
- Front
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British pop art
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less criticism of consumerism
many from working class beleived in democtratic art to reach large audience attack modernist concept of timeless high art; wanted art for the moment, with current technology |
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richard hamilton, just what is it that makes todays homes so appealing
1956 |
commercial graphic design techniques and imagry from pop media: instant arft from the magazines
image list of items relevant to question of title , read like a book |
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Blake, St peppers lonely hearts club band
1967 |
blake commisioned
pop music specila connection with british pot art and british art schools: offered one of few mechanisms for lower class students to cross over the social divisions |
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East Coast americal pop art
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much more savvy, sleek, insiders, greater criticism
detaching pervasive images of media from any specific location in time and place - freely floated in mind, interchangeable parts of puxxle largly apolitical, remaine unambiguously within realm of fine art ; within explored matter of popular culture |
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Claes Oldenburg, Pie a la Mode 1962
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sensuality, optimism, humor
appreciation for bustling, tactile and visual variety of street where a storefront displayed his food o duality interpretation: celebration of everyday & gluttony of success known for manipulating size, hard industrial to look soft take iconic AM everyday "the store" present himself as salesman art isnt better than any other consumer good |
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tom wesselmann, great american nude #57
1964 |
no gestural surface; world of populat imagination with analytical detachment
glimpses of most sexually charged features am woman = commodity, seductive and deprsonalized, like apge of advertising faceless, mass consumer eroticism |
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andy warhol, 32 campell soup cans
1962 |
celebrated sameness of mass culture, that intellectuals of abstract expressionist abhorred
ex coke no expressive quality o Repetition key part of work • Variety with different kinds of soups, in end all same • Illusion of choice o Cerebral and literal aspect : complex |
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andy warhol, Monroe Lips 1962
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switched to silkscreen, eliminating all artists tough; mechanically detaled
assistants helped any variance from machiene he wanted to be machine banality of consumer culture odds with individual presence repetition forces images into anonymous pattern; imperfectly fabricated to assert themselves reduces observer (and artist_ to helpless voyeur, experiences life as an assembly of line images |
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golden marilyn monroe, 1962
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idea of celebrity, idea of coke, desire to be plastic
choosed them at fall banality |
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Warhol, Self Portrait 1967
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o Embrace detachment and depersonalization
o Don’t get sense of personal character, masked and hidden he became celebrety, factory place to be seen |
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Warhol, Skull 1976
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"everything i do is connected with death"
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andy warhol
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• Mother played key role in his art
• Started out in advertising • TRUE break from art history, about present Loved beauty, beauty was celebrity o Time, let celebrity stand for culture Understand all wanting creatures feel much apart of his time, his culture o Mirror to the world Flimsiness to work yet he got it, by accepting it |
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roy lichtenstein,
Blam / little big painting / drowning girl 1960 |
comics = bigness and brashnesss, industrial; stands for actual world we are in
express violent emotionsand passion in mechanical and removed style; detachment from subject is subject of work drowning girl, impassive - some elegance attention on the formal refinement of the composition |
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rosenquist, F 111 1965
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noisy, fast, vulgar, overlapping
all over composition flat screen way things are thrusts at us fragments of images spoll of to canvases fighter plane runs through entire painting, just as publics concerns over war contemporary vision : rapid asociations, accumulate experience |
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West Coast Pop & Funk art / bruce connor the child 1959
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Zen Buddhism, Taoism influence
alientation core of beat culutre; tradition of far out, hip center on coffee houses / jazzz clubs the child: beat sensibility, priority of improvisation and whatever material at hand intuitive process precedence over any preconception of final product |
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west coast pop & funk art / kienholz, the wait
1964 |
inspiration in beata poetry and surrealist juxtapositions of images and matterials
desiccated animal bones; head photo of womans face nelace of jars around neck token of memories live canary |
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west coast pop & funk / ed ruscha
large trademark with eight spotlights 1962 |
sinage aspect of LA, Ruscha's trademark and word painting make equivalnece between worlds
3 D objects of landscape, yet objects are the letters of a sight for 20th C fox: landscape ard edges and simplicity of cartoon reality of pictures hovers between abstraction and representation attacks aesthetic and commercial art devices in high art context |
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donald JUDD, untitled 1967
minimalism |
diff than others, strips away further and explores object on outside level
viewer recogize pattern instead of as compositional elements in balance; eliminated idea of composition and allow more complex form |
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minimalism characteristics
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Mathematical, measured, symmetry, precise
Industrial material (legacy of Duchamp: every day materials – placed in gallery space, role of museum in constituting work of art, forcing you to think about) Lack of subject matter Artist removed Commercially fabricated Emphasis architectural space |
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frank stella, marriage of reason and squalor 1959
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what you see is what you see’
• quickly grasped and understood on formalists level • inspired by Jasper Johns – painted to edge of canvas, object becomes work of art objects so literal they directed to viewer to external relationships * ( Work makes one Free) dividing more and more, making simpler and simpler |
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frank stella, Hatra I 1967
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neutral image, emotionally charged titles
death and suicide prevalent segregated expressiveness aspects of work into controllable areas / formal issues one at a time shape, configuration, pattern, refer one another in close, complex system, asserted work os an object |
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richard serra, tilted art
1970 MINIMALISM |
his proped lead pieces: attention on the physical weight of material and manner of disposition in space what is compelling - is, as it seems, dangerous
provisional, non fixed, clastic force uncomfortably on viewer, dictate paths of movement and monolithic massiveness frightening, unforgiving • Fits into minimalism, younger generation artist • See more of physicality, emphasis on process and engagement • Criticized for having contempt for viewer • Controversial: complained because literately cut plaza in half, aggressive o Did not consider entire space o Not collaborative, with architects or with community • Defense: viewer becomes aware of himself and movement through plaza, as move sculpture changes & environment changes * encourage to be physically aware of surroundings |
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post minimalism
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advocate subjective experience -
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eva hesse, untitled
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direct sensuality not present in materials themselves - not symbols for something else
translucence and luminesce of material; look like skin relate in fundamentalway with invisible nature of materials impermanence into work, using latex , morbid evanescense industrial material uncontrolled, messy, shapes off, lack control, open ended quality extend art into something that doesnt exists, open ended process of discovery , intimate related to body arch space |
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Post Minimalism, Louise Bourgeois
Double Negative 1963 |
visceral, physically engaging materials and products: latex, foam, cast metal
counterculture echoed political atmospher materials and process in ways that centered on sense of artists physical id with them ORGANIC foms - felt real, present in personal terms search back to individual psyche - cool aesthetic became alienating, reestablish contiuity with subjective experience |
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Earthworks, Michael Heizer, Double Negative 1970
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exploring large forces of nature,
illusion of actual mass and weight existential assertion of mans place in the chaos; unraped peaceful religioug space attacks idea of art as portable object blurs the distinction between sculpture ("art") and normal objects such as rocks ("not art"), and encourage viewers to consider how the earth relates to art consists more of what was than what currently is construction in that something was TAKEN AWAY ( is the art) mediate principle of art as creation |
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earthworks: smithson, spiral jetty 1970
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sublimity o nature with darder tone
good/evil/chritianity - via vocabl of geology & sci fi almost no one saw the work film, uses cinematic tools to convey ideas (jurassic period_ maps w/ precise specificatons, yet calc mean nothing in term sof geological time bc things shift science writing and desolate landscapes of science fintion writers: strange, futuristic wasteland |
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earthworks
Christo & Hean Claude: running fence, 1972 |
political appropriation: usble political insight, empowered by visual beauty - engage public in critical debate on values
dialog with people at every point, end realization of project depends on the outcome of interaction must win cooperation of public |
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earthworks
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protest aganst plastic aesthetic and commercialization
rejected museum setting of artistic activity monumental landscapes; beyond reach of commercial art market |
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conceptual art: sol le witt , wall / floor piece #4 1976
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applied minimalist systemic logic & literalness to work without sharing interest in literal object
idea or conept is most important aspect all plnaning and decisions are made beforehand, executition is perfuntory affar idea = machine that makes art work as form of gramar • minimalist influence o artist removed o commercial fabricated o architectural space • idea most important o mathematical, logical, space, equations used |
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conceptual
bruce nauman, self portrait as a fountain 1966 |
“sometimes it works out that the activity involves making something, and sometimes the activity itself is the piece
• no object, except photograph • engage body, as material for work • different: more physical, intimate, more open to external environment photo doc activity witty / wordplay / visual pun |
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conceptual
bruce nauman, neon templates of the left half of my body, taken at 10 inch intervals 1966 |
“sometimes it works out that the activity involves making something, and sometimes the activity itself is the piece
• record and present ACTIVITY as work of art • interest in neon putting self in unfamiliar situations, antiform pieces - way that body relates to paces, how body occupies space retains elegance |
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conceptual
joseph kosuth, one and three hammers 1965 |
beauty seen as frivolous, strip beauty to be seen as intellectual
about removing art from aesthetics, emphasis on philosophy and how we know what we know interest in semiotics, juxtaposing objects : how we understand objects / world explanatoin obstructs one's perception of an object art as idea as idea examined verbal assumptions and definitions with literalness the understanding of the linguistic nature of all art propositions |
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coneptual
haacke, manhattan real estate holdings, a real time social system 1971 |
o Run down buildings owned by wealthy people (slum loards)
o controversy: people who owned connected to museums o targeting specific business people, using art as means to expose them o changing art: minimal, stripped down, document – way to expose detailed research to highlight sociopolitical issues documentary phototography played key role |
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conceptual
acconci, following piece 1960 |
“I was a passive receiver of someone’s time and space”
• Following Piece o literately followed people in NY, until could no longer follow them – documents experience of following them o stalker - ish, voyeurism, implicating viewer as participant o different notion of role of artist conceptual art: focused on artistic experience and theoretical components |
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conceptual
baldessari, heal 1968 |
o POP: collogue, advertisement, appropriation (already exists and re-contextualizing it) Warhol watching TV,
o blocks color to emphasize artificial nature each individual constitues a separate reality favor uniqueness of everyones experience layered, trouble synthesizing intellectual things barrage of input from daily life |
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conceptual, sohpi calle, take care of yourself 2007
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Voyeurism, private and public lives
difference: more subtly than other o Still juxt photo & text, larger scale & use video o centered around breakup letter through email, finished with ‘take care of yourself’ o how she did, revenge, heartache, therapeutic o asked women to interpret the letter – specifically centered around their profession (correct grammar, cross words, sign language, dance ext) o focus: humorous revenge, empowerment, gender differences, detach emotion o expose herself (& ex), not strangers |
