July 6
Neo Dada & the Beats
"An empty canvas is full." - Robert Rauschenberg
Robert Rauschenberg. Untitled. 1955.
http://z.about.com/d/arthistory/1/0/I/S/rrc_06.jpg
"If this is modern art, I quit!" - Anonymous
July 6 |
|
Neo Dada & the Beats |
|
"An empty canvas is full." - Robert Rauschenberg |
Robert Rauschenberg. Untitled. 1955. |
"If this is modern art, I quit!" - Anonymous
|
|
| Assignments Due: Worksheet #5 & Community #2 | |
Exam #1
Results |
||
Number of
students earning grade |
||
A |
45 - 41
points |
18 |
B |
40 - 36
points |
8 |
C |
35 - 32
points |
4 |
D |
31 - 27
points |
0 |
F |
26 - 0 points |
2 |
Highest
score - 45 |
||
Lowest score
- 17 |
||
Competing Sensibilities in postwar American art: |
Gestural abstraction vs. Purified Abstraction |
America vs. Europe |
Figuration vs. Abstraction |
Performance vs. Objecthood |
Masculinity vs. Homosexuality |
Allan Kaprow "Saw Pollock as opening up two avenues within postwar art. One involved continuing in a modernist vein. The other offered a radical option to artists; 'to give up the making of paintings entirely... Pollock left us at the point where we must become preoccupied with and even dazzled by the space and objects of our everyday life." - David Hopkins |
The Beat Generation
those born 1914 - 1930
Jack Kerouac
http://en.wikipedia.org/wiki/Image:Jack-Kerouac.jpg
Beat = tired, down and out or upbeat and "on the beat" |
In the late 50s, alienated groups begin to gather in resistance |
Ernest Withers. Workers Assembling for a Solidarity March, Memphis, Tennessee. 1968. |
Civil Rights Movement of the 60s |
|
Feminist Movement of the 70s |
|
Gay Rights Movement of the 80s |
|
Robert Frank
1924 -
Robert Frank. Trolley- New Orleans.
1955-56.
Frank,
Robert. The Americans. SCALO Publishers, New York. 2000.
Robert Frank. Parade, Hoboken,
New Jersey. 1955-56.
Frank,
Robert. The Americans. SCALO Publishers, New York. 2000.
Robert Frank. Charleston, South
Carolina. 1955-56.
Frank,
Robert. The Americans. SCALO Publishers, New York. 2000.
Robert Rauschenberg
1925 - 2008
Influenced by John Cage's idea that art should "unfocus" the spectator's mind |
Robert Rauschenberg. Erased De Kooning. 1953.
Rauschenberg, Robert . Robert Rauschenberg: Combines. Los Angeles: Museum of Contemporary Art, 2005.
Robert Rauschenberg. Bed. 1955.
Robert Rauschenberg. Bed.
1955.
Rauschenberg, Robert . Robert Rauschenberg: Combines. Los Angeles: Museum of Contemporary Art, 2005.
"Painting relates to both art and life. I try to act in that gap between the two." - Robert Rauschenberg |
Cy Twombly. Leda and the Swan . 1962.
http://i163.photobucket.com/albums/t311/duditty/twombly_ledaandtheswan1962.jpg
Robert Rauschenberg. Monogram. 1955 - 1959.
monogram =a sign of identity usually formed of the combined initials of a name |
 |
combine
= a work (typically associated with Robert Rauschenberg) that combines ordinary objects and collage materials with abstract
expressionist brushwork in new, unexpected ways |
Robert Rauschenberg. Monogram (first state). No longer extant.
Rauschenberg, Robert . Robert Rauschenberg: Combines. Los Angeles: Museum of Contemporary Art, 2005.
"After
you recognize that the canvas you're painting on is simply another rag
then it doesn't matter whether you use stuffed chickens or electric
light bulbs or pure form." - Rauschenberg |
Robert Rauschenberg. Monogram detail. 1955 - 1959.
Rauschenberg, Robert . Robert Rauschenberg: Combines. Los Angeles: Museum of Contemporary Art, 2005.
"There was something about the self-confession and self-confusion of Abstract Expressionism - as though the man and the work were the same - that personally always put me off because at the same time my focus was in the opposite direction. I was busy trying to find ways where the imagery, the material and the meaning of the painting would be, not an illustration of my will, but more like an unbiased documentation of what I observed, letting the area of feeling and meaning take care of itself." - Rauschenberg |
Robert Rauschenberg. Monogram (back) .
1955 - 1959.
Rauschenberg, Robert . Robert Rauschenberg: Combines. Los Angeles: Museum of Contemporary Art, 2005.
Robert Rauschenberg. Odalisk. 1955 - 58. |
Robert Rauschenberg. Untitled (Man with the white shoes). 1954. |
Robert Rauschenberg. Untitled (Man with the white shoes). 1954. |
Robert Rauschenberg. Untitled (Man with the white shoes) (back). 1954. |
Robert Rauschenberg. Untitled (Man with the white shoes) (detail). 1954. |
Robert Rauschenberg. Untitled (Man with the white shoes) (detail). 1954. |
Robert Rauschenberg. Odalisk. 1955 -8.
Odalisk word play: |
Odalisque = a female slave or concubine who tends to the harem of the Turkish sultan |
Obelisk = tall, thin, four-sided, tapering monument which ends in a pyramidal top |
Robert Rauschenberg. Odalisk. 1955 -8. |
Robert Rauschenberg. Untitled (Man with the white shoes). 1954. |
Robert Rauschenberg. Canyon. 1959.
Robert Rauschenberg. Canyon (detail). 1959. |
Rembrandt Van Rijn. Ganymede in the |
Robert Rauschenberg. Canyon (detail). 1959.
Neo Dada
= style of art which reinvestigates Dada's use of irony, found objects
and banal activities as instruments of social and aesthetic critique |
Jasper Johns. Target with Plaster Casts. 1955.
|
Characteristics
of Neo-Dada works: |
|
Use of modern,
everyday materials and popular imagery |
|
Absurdist
contrast |
|
Denial of
traditional concepts of aesthetics and beauty |
John Chamberlain
1927 -
John Chamberlain. H.A.W.K. 1959.
John Chamberlain. Miss Lucy
Pink. 1963.
Fred
S. Kleiner and Christin J. Mamiya, Gardner's Art Through the Ages.
Twelfth ed. Vol. 1. Fort Worth: Harcourt Brace College Publishers, 2005. 2
vols.
John Chamberlain. Hadeharia.
2005.
Leffingwell, Edward. John Chamberlain at Pace
Wildenstein. Art in America. March 2006: 149.
Louise Nevelson
1899 - 1988
Louise Nevelson. Sky Cathedral.
1958.
http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/artworkimages/nevelson.jpg
macrocosmic
scale of entire created environment |
microcosmic scale of the
individual enclosure |
Louise Nevelson. Dawn's Wedding Chapel. 1959.
In response
to 1946 New York exhibition of Nevelson's work, critic said: "
We learned the artist was a woman, in time to check our enthusiasm.
Had it been otherwise, we might have hailed these sculptural expresssions
as by surely a great figure among the moderns." |
Louise Nevelson. Royal Tide
IV. 1960.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln.
2005.
