Art 1 Lecture 9

July 13
Andt Form
"Anarchy is the only slight glimmer of hope." - Mick Jagger	Christo and Jeanne-claude. The Wall, 13,000 Oil Barrels, Oberhausen, Germany. 1999. Baal-Teshuva, Jacob. Christo and Jeanne-Claude. Koln: Taschen, 2001.
Assignments Due: Community #3 and Worksheet #9

Greenberg declared "Color Field" the successor to Abstract Expressionism

Color Field = an abstract style of painting that emerged after Abstract Expressionism that sought to rid painting of anything recognizable (representation) and is characterized by large canvases painted with vast areas of color

Mountains and Sea

Helen Frankenthaler. Mountains and Sea. 1952. 7' 2" X 9' 8".

Bay Side

Helen Frankenthaler. Bay Side. 1967.

The Bay

Helen Frankenthaler. The Bay. 1963.

Morris Louis
1912 - 1962

Untitled

Morris Louis. Untitled. 1959.

Tet

Morris Louis. Tet. 1958.

Tet = the first morning of the first day of the New Year

Alpha-Pi

Morris Louis. Alpha-Pi. 1961.

"unfurleds"

Frank Stella
1936 -

Three Flags

Jasper Johns. Three Flags. 1958.

Mas o Menos

Frank Stella. Mas o Menos (More or Less). 1964.
http://www.centrepompidou.fr/images/oeuvres/XL/3I01567.jpg

Die Fahne Hoch

Frank Stella. Die Fahne Hoch. 1959. 309 X 185 cm.
Hopkins,David. After Modern Art 1945 - 2000. Oxford: Oxford University Press, 2000.

Die Fahne Hoch = raise the flag high - phrase from Nazi marching song

	Stella painting http://www.ugomulas.org/foto/1108559742.jpg
The painting is "a flat surface with paint on it- nothing more." - Frank Stella

“Frank Stella is not interested in expression or sensitivity. He is interested in the necessity of painting…Frank Stella’s painting is not symbolic. His stripes are the paths of brush on canvas. These paths lead only into painting.” – Carl Andre

The Marriage of Reason and Squalor

Frank Stella. The Marriage of Reason and Squalor. 1959. 7' 6 3/4" x 11' 3/4".
http://www.moma.org/images/collection/FullSizes/00333087.jpg

squalor = a filthy and wretched condition or quality

New Madrid

Frank Stella. New Madrid. 1961.
Lucie-Smith, Edward. Movements in Art Since 1945. New York: Thames & Hudson, 2001.

A picture is "a flat surface with paint on it - nothing more." - Stella

"My painting is based on the fact that only what can be seen there is there. It really is an object...you can see the whole idea without any confusion...what you see is what you see." - Stella

Hatra I

Frank Stella. Hatra I. 1967.

Hard-edge = style of painting in which paint application is intentionally impersonal and is comprised of particularly sharp delineated areas of color

Minimalism

1965 Barbara Rose essay on ABC Art discussed the recent emergence of "an art whose blank, neutral, mechanical impersonality contrasts so violently with the romantic, biographical abstract expressionist style which preceded it that spectators are chilled by its apparent lack of feeling or content." "...if Pop Art is the reflection of our environment, perhaps the art I have been describing is its antidote, even if it is a hard one to swallow."

Untitled

Donald Judd. Untitled. 1968.
http://graphics2.jsonline.com/graphics/owlive/img/aug03/artwork0815_big.jpg

Ad Reinhardt. Abstract Painting. 1957. http://www.moma.org/collection/browse_results.php? criteria=O%3AAD%3AE%3A4856&page_number=12&template_id=1&sort_order=1


	Inspired by Ad Reinhardt's declaration, "12 Rules for a New Academy:"
	"No texture, no brushwork, no drawing, no forms, no design, no color, no light, no space, no time, no size or scale, no movement and finally no object." - Ad Reinhardt

Donald Judd. Untitled. 1967.


	Characteristics of Minimalist Sculpture:
	Serial repetition of geometric forms
	Manufactured
	Industrial, commercially available materials
	Focus on the material rather than metaphor

Viewer:	"Why didn't you make it larger so that it would loom over the observer?"	Tony Smith. Die. 1962. 6 X 6 X 6 ft. Marzona, Daniel. Minimal Art. Koln: Taschen, 2004.
Smith:	"I was not making a monument."
Viewer	"Then why didn't you make it smaller so that the observer could see over the top?"
Smith:	"I was not making an object."

literalism = fidelity to observable fact

Pink Out of a Corner

Dan Flavin. Pink Out of a Corner (To Jasper Johns). 1963.

"The real drama takes place not on the surface of the work, but rather, everywhere around it." - Bunny Smedley

The Nominal Three

Dan Flavin. The Nominal Three. 1963.
http://www.guggenheim.org/artscurriculum/images/sf_flavin_1_l.jpg

Blue Intensity

Dan Flavin. Blue Intensity. Installation at LACMA 2007.
http://asymptotia.com/wp-images/2007/07/Dan_Flavin_4.jpg

Steel Magnesium Plain

Carl Andre. Steel Magnesium Plain. 1969. 6 X 6 ft.
Marzona, Daniel. Minimal Art. Koln: Taschen, 2004.

Carl Andre installing work

Carl Andre installing Steel Magnesium Plain. 1969.
Marzona, Daniel. Minimal Art. Koln: Taschen, 2004.

walking on Andre

http://farm4.static.flickr.com/3562/3538957082_245df5e52b_o.jpg

Plywood Show

Robert Morris. Plywood Show. 1964.
Marzona, Daniel. Minimal Art. Koln: Taschen, 2004.

The work "nearly appears not to be art." - Donald Judd

Untitled

Robert Morris. Untitled. 1964.

Modernist Rebuttals

1967 Greenberg attacks Minimal sculpture in "Recentness of Sculpture"

Felt that Minimalist painting followed his formalist rules too literally

Compares Minimalist aesthetic to good design

In "Art and Objecthood" Michael Fried admonished the Minimalists for going too far, making objects so literal they directed the viewer to external relationships, which Fried called "theatrical"

"Because Post-Painterly abstraction seemed to bring the possibilities offered by pure painting to a kind of conclusion, artists who wished to find their way forward were for a while inclined to abandon the idea of the painted canvas as a vehicle for what they wanted to do or say. This resulted in a great swing of attention towards sculpture, and also in an increasing number of experiments with mixed media." - Edward Lucie-Smith

Untitled

Robert Morris. Untitled. 1969. Felt. 15' 3/4" x 6' 1/2" x 1".
http://www.moma.org/images/collection/FullSizes/00303055.jpg

"Robert Morris's work is fundamentally theatrical… his theater is one of negation: negation of the avant-gardist concept of originality, negation of logic and reason, negation of the desire to assign uniform cultural meanings to diverse phenomena; negation of a worldview that distrusts the unfamiliar and the unconventional."
- Maurice Berger

Artists have grown weary		Robert Morris. Untitled. 1968.
Tired of the consumption of Pop Art	Responded with works emphasizing ideas instead of materiality
Tired of the commodification of the art object	Responded by making works that couldn't be bought or owned
Tired of being told what to do by art critics	Responded by writing their own art theory

Robert Morris. Untitled. 1965/ 71. http://www.tate.org.uk/collection/T/T01/T01532_9.jpg	1968 and Anti Form
	Robert Kennedy and Martin Luther King are assassinated
	German student protests against capitalism and exploitation of the common man
	French student and worker strikes nearly bring down the government
	Pope condemns birth control

	Robert Morris writes "Anti Form"
	Argues that sculpted form should be dictated by process, not preconceived
	Extends Lucy Lippard's earlier idea that there was a growing tendency toward " the dematerialization of the art object"
	"The world is full of objects, more or less interesting: I do not wish to add any more." - Douglas Huebler

	Numerous artists and critics begin to declare the death of painting!

The Situationists International	Asger Jorn. The Worrying Duck. 1959. http://www.dmol.dk/74302/fig7.jpg
Founded in 1957, the Situationists was an international avant-garde activist group that attacked capitalism in Western societ for transforming citizens into passive consumers of depoliticized media spectacle. They asserted that the spectacle replaced active participation in public life.

The highly influential Situationist book The Society of the Spectacle by Guy Debord argued that spectacular features like mass media and advertising have a central role in an advanced capitalist society, which is to show a fake reality in order to mask the real capitalist degradation of human life. To overthrow such a system, the groupl supported the May 1968 revolts in Paris, and asked the workers to occupy the factories and to run them with direct democracy, through workers' councils composed by instantly revocable delegates.

Sorbonne Graffitti

Vandalism in the Sobornne University 1968
http://inventin.lautre.net/images/derniercapitaliste.jpg

Debord's aim and proposal, is "to wake up the spectator who has been drugged by spectacular images," "through radical action in the form of the construction of situations," "situations that bring a revolutionary reordering of life, politics, and art". In the situationist view, situations are actively created moments characterized by "a sense of self-consciousness of existence within a particular environment or ambience".

Boredom is counterrevolutionary

We don’t want a world where the guarantee of not dying of starvation brings the risk of dying of boredom.

In a society that has abolished every kind of adventure the only adventure that remains is to abolish the society.

Those who make revolutions half way only dig their own graves.

Run, comrade, the old world is behind you!

We will ask nothing. We will demand nothing. We will take, occupy.

When the National Assembly becomes a bourgeois theater, all the bourgeois theaters should be turned into national assemblies. (Written above the entrance of the occupied Odéon Theater)

Warning: ambitious careerists may now be disguised as “progressives.”

Stalinists, your children are with us!

Be cruel.

A single nonrevolutionary weekend is infinitely more bloody than a month of total revolution.

Under the paving stones, the beach.

Live without dead time.

Be realistic, demand the impossible.

If God existed it would be necessary to abolish him.

I love you!!! Oh, say it with paving stones!!!

Paris University Graffitti

"life instead" graffiti at the University of Paris. May 1968.
http://1.bp.blogspot.com/_g--Q5Ya6yYE/SDjxZEmKbZI/AAAAAAAAB2A/DHfkXZ-2lfo/s400/gounod.jpg

Christo and Jeanne-Claude
June 13, 1935 - (Jeanne Claude 2009)

Pont Neuf Wrapped

Christo and Jeanne-Claude. The Pont Neuf Wrapped, Paris. 1975 - 85.

"Christo works an average of 17 hours a day - 7 days a week. Jeanne-Claude is a bit more lazy - only 12 to 13 hours a day. They do not take vacations." - www.christojeanneclaude.net

Running Fence

Christo and Jeanne-Claude. Running Fence, Sonoma and Marin Counties, California. 1972 - 76.

Running Fence

Christo and Jeanne-Claude. Running Fence, Sonoma and Marin Counties, California. 1972 - 76.
Baal-Teshuva, Jacob. Christo and Jeanne-Claude. Koln: Taschen, 2001.

Umbrellas in California

Christo and Jeanne-Claude. The Umbrellas, Japan-USA. 1984 - 91.


Christo and Jeanne-Claude. The Umbrellas, Japan-USA. 1984 - 91. Baal-Teshuva, Jacob. Christo and Jeanne-Claude. Koln: Taschen, 2001.

Plans for the wrapping of the Reichstag

Christo and Jeanne-Claude. Wrapped Reichstag, Project for Berlin. 1979.

Wrapped Reichstag

Christo and Jeanne-Claude. Wrapped Reichstag, Project for Berlin. 1979.
Baal-Teshuva, Jacob. Christo and Jeanne-Claude. Koln: Taschen, 2001.

Reichstag

The Reichstag. 2007.
Anne Sommermeier

The Gates

Christo and Jeanne-Claude. The Gates, Central Park, New York. 1979 - 2005.
Baal-Teshuva, Jacob. Christo and Jeanne-Claude. Koln: Taschen, 2001.

Over the River