Grade Four Session One – the Theme of Modernism
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The Greatest Artists of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family. -
Art: Graphic Design and Illustration (ARTC) 1
Art: Graphic Design and Illustration (ARTC) 1 ARTC 165 Illustration ART: GRAPHIC DESIGN AND 3 Units (Degree Applicable, CSU) Lecture: 36 Lab: 71 ILLUSTRATION (ARTC) Prerequisite: ARTD 15A or ANIM 104 Corequisite: ARTD 20 or ARTD 21 or ARTD 17A or ANIM 101A (any of ARTC 100 Fundamentals of Graphic Design which may have been taken previously) 3 Units (Degree Applicable, CSU, C-ID #: ARTS 250) Lecture: 36 Lab: 71 Contemporary illustration with an emphasis on story, editorial, and Advisory: ARTD 15A and ARTD 20 advertising applications. Proper uses of illustrative rendering techniques in traditional drawing and painting media, paper, and their integration to Fundamentals of graphic design for the commercial art industry. electronic media. Using professional illustration software, peripherals, Technology, creativity, design, and production. Adobe Photoshop to and color laser printing, students advance to produce more complex produce effective commercial art. illustrations. ARTC 120 Print Design and Advertising ARTC 167 Visual Development 3 Units (Degree Applicable, CSU) 3 Units (Degree Applicable, CSU) Lecture: 36 Lab: 71 Lecture: 36 Lab: 71 Prerequisite: ARTC 100 Prerequisite: ARTC 163 or (ANIM 101A and ARTD 16) Corequisite: ARTD 20 (May be taken previously) Development of conceptual designs for illustration in video games, film, Theories, concepts, and skills for the design and layout of animation, and comic books, using composition, shape, value, and color printed commercial art. Covers typical printed products including as visual tools for storytelling. Students cannot receive credit for both advertisements, flyers, brochures, posters, books, and catalogs. Focuses ARTC 167 and ANIM 167. on using Adobe InDesign with additional exposure to Adobe Photoshop ARTC 169 Contemporary Illustration and Adobe Illustrator. -
Pop Artists Andy Warhol (1925 – 1987) Is the Standard Bearer of Pop Art and Now One of the Most Famous Artists in the World
Moxie University Shares: University Pop Artists Andy Warhol (1925 – 1987) is the standard bearer of Pop Art and now one of the most famous artists in the world. He was born to immigrant parents from Eastern Europe and was frail, solitary and unpopular as a child. He contracted scarlet fever and the subsequent complications kept him in bed for a lengthy time. While in bed he listened to the radio and collected pictures of movie stars. This experience would set his career-path. He would get a degree in commercial art and work in NY at commercial advertising agencies. His first “works” were whimsical illustrations of women’s fashion shoes, he seemed to give the shoes a unique personality of their own. In the early 60’s Warhol would start a revolution in art by depicting ordinary items of consumption as “Art.” This would become the catalyst for “pop” art. In general Warhol sought (By Jack Mitchell, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=15047586) out the most ironic and cynical elements to satirize in American society. His works were his way of “thumbing his nose” at American Exceptionalism in an age when America was at its zenith in terms of global cultural power and influence. In the end he wanted to be a celebrity more than he wanted to be an artist, fame was its own-just- reward. He is also responsible for creating an industrial method of producing works with his “factory” process. Warhol’s later life could be thought of as the first instance of a Reality-TV-Show, just the act of living was an “Art” on its own. -
Reflected in the Mirror There Was a Shadow Roy Lichtenstein Andy Warhol
REFLECTED IN THE MIRROR THERE WAS A SHADOW ROY LICHTENSTEIN ANDY WARHOL 1 2 3 4 REFLECTED IN THE MIRROR THERE WAS A SHADOW ROY LICHTENSTEIN ANDY WARHOL November 1 – December 23, 2011 LEO CASTELLI To confront a person with his shadow is to show him his own light. Once one has experienced a few times what it is like to stand judgingly between the opposites, one begins to understand what is meant by the self. Anyone who perceives his shadow and his light simultaneously sees himself from two sides and thus gets in the middle. (Carl Jung, Good and Evil in Analytical Psychology, 1959) Roy Lichtenstein’s new paintings based on mirrors show that he has taken on another broad challenge – that of abstract, invented forms. The Mirror paintings are close to being total abstractions. Nothing recognizable is “reflected” in them, but their surfaces are broken into curving shards of “light,” or angular refractive complexities. They are, in effect elaborately composed pictures of reflections of air. (…) The specific source for the “imagery” of the mirrors is the schematic denotation of reflections and highlights derived from cheap furniture catalogues or small glass company ads. However the distance of Lichtenstein's illusory Mirrors from their sources is so great that the interest is frankly elsewhere. Any tacky connotations (formerly to be cherished) are now dissipated in the paintings’ final fastidious grandeur. (Elizabeth Baker, “The Glass of Fashion and the Mold of Form,” ArtNews, April 1971) Roy Lichtenstein, Paintings: Mirror, 1984 Oil and Magna on canvas, 70 x 86 inches 4 To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools This way to dusty death. -
James Rosenquist - Select Chronology
James Rosenquist - Select Chronology THE EARLY YEARS 1933 Born November 29 in Grand Forks, North Dakota. Parents Louis and Ruth Rosenquist, oF Swedish and Norwegian descent. Family settles in Minneapolis, Minnesota in 1942. 1948 Wins junior high school scholarship to study art at the Minneapolis School of Art at the Minneapolis Art Institute. 1952-54 Attends the University oF Minnesota, and studies with Cameron Booth. Visits the Art Institute oF Chicago to study old master and 19th-century paintings. Paints storage bins, grain elevators, gasoline tanks, and signs during the summer. Works For General Outdoor Advertising, Minneapolis, and paints commercial billboards. 1955 Receives scholarship to the Art Students League, New York, and studies with Morris Kantor, George GrosZ, and Edwin Dickinson. 1957-59 Becomes a member oF the Sign, Pictorial and Display Union, Local 230. Employed by A.H. Villepigue, Inc., General Outdoor Advertising, Brooklyn, New York, and ArtkraFt Strauss Sign Corporation. Paints billboards in the Times Square area and other locations in New York. 1960s 1960 Quits working For ArtkraFt Strauss Sign Corporation. Rents a loFt at 3-5 Coenties Slip, New York; neighbors include the painters Jack Youngerman, Ellsworth Kelly, Agnes Martin, Robert Indiana, Lenore Tawney, Robert Rauschenberg, Jasper Johns, Barnett Newman, and the poet Oscar Williamson. 1961 Paints Zone (1960-61), his First studio painting to employ commercial painting techniques and Fragmented advertising imagery. 1962 Has first solo exhibition at the Green Gallery, New York, which he joined in 1961. Early collectors include Robert C. Scull, Count Giuseppe PanZa di Biumo, Richard Brown Baker, and Burton and Emily Tremaine. -
“Robert Morris: the Order of Disorder”, Art in America, May 2010
2% #2%!4)/. 2/"%24 -/22)3 4(% /2$%2 /& $)3/2$%2 Decades after its debutÑand disappearanceÑan early work is re-created by Robert Morris for the gallery that first sponsored it. "9 2)#(!2$ +!,).! This page and next, Robert Morris: Untitled (Scatter ROBERT MORRIS HAS re-created one Morris retrospective, but was not Piece), 1968-69, felt, steel, of the key works of Post-Minimalism, sent to the exhibition’s next venue, lead, zinc, copper, aluminum, Untitled (Scatter Piece), 1968-69, at the Detroit Institute of Arts. Instead, it brass, dimensions variable; at Leo Castelli Gallery, New York. Leo Castelli Gallery on 77th Street. was returned to storage, and subse- Photo Genevieve Hanson. First exhibited along with Continuous quently disappeared—curious, since All works this article © 2010 Project Altered Daily at the Castelli it consisted of 100 hefty pieces of Robert Morris/Artists Rights Warehouse on West 108th Street in metal and 100 pieces of heavy-duty Society (ARS), New York. March 1969, Untitled (Scatter Piece) felt, and weighed about 2 tons. traveled to the Corcoran Gallery of Re-creation, with its implication of exact Art in Washington, D.C., the follow- reproduction, is perhaps an imprecise ing November as part of an early word for the 2010 project. The ele- exist in a perfectly valid iteration while ments in the new work are indeed the in storage—presumably neatly stacked same type as in the original, but rather than strewn about. their disposition (not rule-bound The rectilinear metal pieces are CURRENTLY ON VIEW “Robert Morris: Untitled (Scatter Piece), but arrived at intuitively) responds to made of copper, aluminum, zinc, 1968-69” at Leo Castelli Gallery, New the work’s location: Morris maintains brass, lead or steel, and arrived at York, through May 15. -
College Articulation Agreements Commercial Art & Advertising
College Articulation Agreements Commercial Art & Advertising Design CIP Code: 50.0402 Art Institute of Pittsburgh: • FNDA11O Observational Drawing (3 credits) • FNDA150 Digital Color Theory (3 credits) • GWDA101 Applications & Industry (3 credits) • PHOA101 Principles of Photography (3 credits) • FND135 Introduction to Web Design (3 credits) • FNDA105Design Fundamentals (3 credits) • FNDA135 Image Manipulation (3 credits) • G131 Typography (3 credits) Bucks County Community College: • VAFA160 – Introduction to Printmaking or VAFA 161 – Printmaking/Silkscreen (3 credits) • VAMM100 – Digital Imaging (3 credits) • VAGD999 – Graphic Design elective (3 credits) Harrisburg University Science & Technology • IMED 170, Visual Design Fundamentals (4 credits) Hussian College: • Eligible students shall receive up to 9 elective credit hours in a B.F.A in Specialized Technology degree program o FAD103 Fundamentals of 2D Design: Design Elements o GDD202 Graphic Design 1 o DMD202 Web Programming 1: Advanced Styling with CSS New and updated agreements will be added to this document on an on-going basis. In addition to agreements between MBIT and the post-secondary schools, agreements have been initiated state-wide through the Pennsylvania Department of Education SOAR (Students Occupationally and Academically Ready) Initiative. These agreements can be found online at www.collegetransfer.net and by searching PA Bureau of CTE SOAR Programs. Students are also eligible for three (3) college credits through the National College Credit Recommendation Service based on their NOCTI written score. Students must receive at least a 70% on the written component of the Commercial and Advertising Art PA NOCTI Post-Test to receive college credit. A list of cooperating colleges and universities can be found online at www.nationalccrs.org and by searching Colleges and Universities. -
GUIDE to MAJORS at YESHIVA: ART What Is the Art Major? What
GUIDE TO MAJORS AT YESHIVA: ART Choosing a major can be stressful, but it is important to understand that you can pursue almost any career regardless of which major you choose. While there are some exceptions, most entry-level positions simply require general transferable skills—those that can be learned in one setting and applied in another. Relevant experience through internships and activities is generally more important to employers than a major. It is best to choose an area that you find interesting and where you have the ability to do well. What is the Art Major? The Art department at Stern College for Women offers students an opportunity to develop a Shaped Major with a focus in either Art History (34 credits) or Studio Art (40-41 credits). Art History is the study of art from various periods, cultures, and parts of the world. It teaches students to interpret and understand works of art of many types, by learning about artists' lives and their societies. Studio Art aims to strengthen a student’s natural talent in either the fine arts or the various design fields by offering courses in painting, design, architecture, fashion, drawing, sculpture, or computer graphics. The student develops a Shaped Major based on her particular art interest. Students also may sign up for an 18-credit Art Minor. Furthermore, any Stern College student who wishes to explore her artistic side is welcome in classes. Majors may take up to ten credits at the Fashion Institute of Technology (FIT), and minors may take five credits. What can I do with a Major in Art? Graduates with a focus on Art History can enter a wide range of professional careers including museums, galleries, auction houses, education, publishing and more. -
POP ART: FOCUS (Richard Hamilton, Andy Warhol, and Claes Oldenburg)
CHALLENGING TRADITION: POP ART: FOCUS (Richard Hamilton, Andy Warhol, and Claes Oldenburg) TITLE or DESIGNATION: Just what is it that makes today’s homes so different, so appealing? ARTIST: Richard Hamilton CULTURE or ART HISTORICAL PERIOD: Pop Art DATE: 1956 C.E. MEDIUM: collage on paper ONLINE ASSIGNMENT: http://smarthistory.kha nacademy.org/campbell s-soup-cans.html TITLE or DESIGNATION: Campbell’s Soup Cans ARTIST: Andy Warhol CULTURE or ART HISTORICAL PERIOD: Pop Art DATE: 1962 C.E. MEDIUM: synthetic polymer paint on 32 canvases ONLINE ASSIGNMENT: http://smarthistory.khana cademy.org/pop-art.html TITLE or DESIGNATION: Gold Marilyn Monroe ARTIST: Andy Warhol CULTURE or ART HISTORICAL PERIOD: Pop Art DATE: 1962 C.E. MEDIUM: synthetic polymer paint, silkscreened, and oil on canvas ONLINE ASSIGNMENT: http://www.tate.org.uk/art/ artworks/warhol-marilyn- diptych-t03093/text- illustrated-companion TITLE or DESIGNATION: Marilyn Diptych ARTIST: Andy Warhol CULTURE or ART HISTORICAL PERIOD: Pop Art DATE: 1962 C.E. MEDIUM: oil, acrylic, and silkscreen enamel on canvas ONLINE ASSIGNMENT: http://www.yale.edu/publicart/lipstick. html TITLE or DESIGNATION: Lipstick (Ascending) on Caterpillar Tracks ARTIST: Claes Oldenburg CULTURE or ART HISTORICAL PERIOD: Pop Art DATE: 1969-74 C.E. MEDIUM: weathering steel CHALLENGING TRADITION: POP ART: SELECTED TEXT (Richard Hamilton, Andy Warhol, and Claes Oldenburg) ANDY WARHOL and the POP ART MOVEMENT Online Links: Andy Warhol - Wikipedia, the free encyclopedia YouTube - Andy Warhol Empire YouTube - andy warhol – sleep YouTube - andy warhol – kiss YouTube - Artist Spotlight: Andy Warhol Eats a Hamburger Pop art - Wikipedia, the free encyclopedia Kitsch - Wikipedia, the free encyclopedia Roy Lichtenstein - Wikipedia, the free encyclopedia Claes Oldenburg - Wikipedia, the free encyclopedia Coosje van Bruggen - Wikipedia, the free encyclopedia Richard Hamilton. -
How Does Contemporary Artists Consolidate Their Success And
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2019 How does contemporary artists consolidate their success and achievements through social media platform such as Instagram? : Case study of successful co-existing relationship developed between contemporary artists Ai Weiwei and KAWS with their Instagram account Rouchen Yao Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Arts Management Commons, Contemporary Art Commons, and the Technology and Innovation Commons Recommended Citation Yao, Rouchen, "How does contemporary artists consolidate their success and achievements through social media platform such as Instagram? : Case study of successful co-existing relationship developed between contemporary artists Ai Weiwei and KAWS with their Instagram account" (2019). MA Theses. 57. https://digitalcommons.sia.edu/stu_theses/57 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. How does contemporary artists consolidate their success and achievements through social media platform such as Instagram? Case study of successful co-existing relationship developed between contemporary artists Ai Weiwei and KAWS with their Instagram account Ruochen Yao Word Count: 11311 Abstract In the following thesis, I would compare and contrast the two art world phenomenon:Ai Weiwei and KAWS, whom have very distinctive artistic focus and style. And how the two artists utilize their social media platform to achieve different purposes and reflect different values.