Seductive Subversion |
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"I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a door mat or a prostitute." - Rebecca West in "Mr Chesterton in Hysterics: A Study in Prejudice," The Clarion, November 14, 1913 |
Rebecca West
http://www.dailymail.co.uk/home/books/article-1283776/Clever-girls-terrible-taste-men-BETWEEN-THE-SHEETS-BY-LESLEY-MCDOWELL.html |
Book Pages 21 - 25 Due |
Core ideas
of Greenberg's Formalism: |
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Concept of the "mainstream" = art history is strictly linear and progressive. Each new style builds upon its predecessors, making them obsolete |
Elaine De Kooning. Sunday Afternoon. 1957.
http://www.mystudios.com/women/klmno/kooning_sunday.html
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Only one dominant style exists at any given time |
Any work outside of the dominate style is minor and should not be given consideration |
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Louise Nevelson. Sky Cathedral Southern Mountain. 1959.
http://www.moca.org/pc/images/artworks/800px/nevelson.jpg
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The avant-garde enacted a continuous stripping away of subject matter, illusion and pictorial space |
Art can only advance through the eliminationof the figure |
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Concrete distinction between high and low art |
http://blogs.sun.com/jag/resource/18841E.jpg
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Kitsch = mass produced, low quality, consumer culture |
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Jackson Pollock. Convergence. 1952
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Lee Krasner. Polar Stampede. 1960.
http://www.flickr.com/photos/matthewfelixsun/4858174278/
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David Smith. Hudson River Landscape. 1951. |
Dorothy
Dehner. Looking North F. 1964.
Sterling,
Susan Fisher. Women Artists: The National Museum of Women in the
Arts. New York: Abbeville Press Publishers, 1995. |
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Willem de
Kooning. Woman I. 1950-52.
Stokstad, Marilyn. Art History.
Revised Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N.
Abrams, 2005. |
Elaine De Kooning. John F. Kennedy. 1963.
http://farm4.static.flickr.com/3203/2721563078_48543449d8.jpg |
"Elaine de Kooning's comparatively meager institutional recognition as an artist can be attributed to her conscious flouting of the AbEx framework. External factors like her marriage to Willem de Kooning and her role as an Art News critic exacerbated the lack of recognition as an artist, and her adherence to portraiture certainly entailed artistic isolation at that time. From today's point of view, her series of sitting, faceless men seems particularly successful in that it shows the tension between recognition and misrecognition of those portrayed: The more she attempted to represent her male sitters, the more "empty" their faces became. For Willem de Kooning, though, portraits were nothing more than 'pictures that girls made.'" - June Underwood http://raggedclothcafe.com/2007/04/25/abstract-expressionism-a-re-view-and-some-comments-by-june-underwood/
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Alice Neel
1900 - 1984
Alice Neel. Linda Nochlin and
Daisy. 1973.
Stokstad, Marilyn. Art History. Revised
Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N. Abrams, 2005.
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Edouard
Manet. A Bar at the Folies-Bergere. 1881-82.
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice
Hall Inc., and Harry N. Abrams Inc., 2005. |
Alice Neel. Margaret Evans Pregnant.
1978.
Broude, Norma and Mary D. Garrard ed. The
Power of Feminist Art: The American Movement of the 1970s, History and Impact.
New York: Harry N. Abrams, Inc., 1994. |
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Edouard
Manet. Olympia. 1863.
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice
Hall Inc., and Harry N. Abrams, 2005 |
Alice Neel. Pregnant Woman .
1971.
http://www.uam.ucsb.edu/Media/pregnant_woman.GIF |
Alice Neel. Nude Self-Portrait.
1980.
Broude, Norma and Mary D. Garrard ed. The
Power of Feminist Art: The American Movement of the 1970s, History and Impact.
New York: Harry N. Abrams, Inc., 1994.
Manet. Luncheon
on the Grass (Le Dejeuner Sur L'Herbe). 1863.
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice
Hall Inc., and Harry N. Abrams, 2005.
Niki de Saint Phalle. Shooting Picture. 1961.
http://www.tate.org.uk/images/cms/13776w_shootingpicture300dpi.jpg |
Niki de Saint Phalle creating a shooting picture
http://1.bp.blogspot.com/_dCVZ3U_lipU/SSxrKGM2bUI/AAAAAAAAMX8/eLp-js5J3DA/s400/Niki-de-Saint-Phalle_fusil.jpg |
Niki de Saint Phalle. Nana.
c. 1965.
Niki de Saint Phalle, Jean Tinguely and Per Olof Utvedt. Hon. 1966.
Butler, Cornelia. WACK!: Art and the Feminist Revolution. Los Angeles: The Museum of Contemporary Art, 2007.
Niki de Saint Phalle. Black Nana. 1968 - 69.
http://www.museenkoeln.de/museum-ludwig/default.asp?s=1838
Niki de Saint Phalle. The Empress from the Tarot Garden. 1978 - 1998.
http://tuscantraveler.com/wordpress/wp-content/uploads/2008/10/giardino-dei-tarocchi-sett2003-016.jpg
Yayoi Kusama. Silver Shoes. 1976.
http://www.jpallas.com/other/Dennis_Nawrocki___Detroit_Stories.html
Infinity Mirror. 1965.
http://bodytracks.org/2009/06/yayoi-kusama-kusamas-peep-show-endless-love-show/
"If it were not for art, I would have killed myself a long time ago." - Yayoi Kusama
Martha Rosler. Body Beautiful, or Beauty Knows No Pain: A Woman with Vacuum (Vacuuming Pop Art). 1966 - 72.
http://ww1.prweb.com/prfiles/2010/08/18/1390824/VacuumingPopArtbyMarthaRosler.jpg
Vija Celmins. Untitled (Ocean) (Venice, California). 1970. Pencil on paper. 14" X 18".
Sayre, Henry M. A World of Art. Upper Saddle River, NJ: Prentice Hall, 2003.
Vija Celmins. Untitled (Web 2). Mezzotint on Hahnemühle Copperplate paper, 18 x 14 3/4 inches. 2000.
http://emilyiremonger.files.wordpress.com/2009/12/vija.jpg
Seductive Subversion: Women Pop Artists 1958 - 1968
