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Chapter 30 Modernism 1945 to 1980.Pdf Chapter 30 Later 20th Century After 1945 Key Ideas • Late modern art is a restless era of great experimentation, beginning with The New York School • Contemporary art is characterized by short-lived movements • Most artists work in a variety of media • Modern architecture has been radically altered by the introduction of the computer, which makes drawing ground plans easier and more efficient, and checks for structural errors • The number of female artists, patrons, and customers has grown bringing about a closer equality of the sexes. Vocabulary • Deconstruction architecture-seeks to create a seemingly unstable environment with unusual spatial arrangements • Action Painting: an abstract painting in which the artist drips or splatters paint onto a surface like a canvas in order to create his or her work • Assemblage: a three-dimensional work made of various matilterials such as wood, clthloth, paper, and milliscellaneous objects • Benday Dots: named for inventor Benjamin Day. This printing process uses the pointillist technique of colored dots from a limited palette placed closely together to achieve more colors and subtle shadings • Color Field: a style of abstract painting characterized by simple shapes and monochromatic color • Earthwork: a large outdoor work in which the earth itself is the medium • Installation: a temporary work of art made up of assemblages created for a particular space, like an art gallery or museum. Existentialist humanity- Alienated, solitary, and lost in the world’s immensity GIOCOMETTI, Man Pointing BACON, Painting Painted in the aftermath of WW II , this intentionally revolting image of a powerful figure presiding over a slaughter is Bacon’s indictment of humanity and a reflection of war’s butchery. Abstract Expressionism – 1950s • Sometimes called The New York School • First American avant-garde art movement • Developpged as a reaction against artist like Mondrian and Malevich, who took the Minimalist approach to abstraction • Seeks to have a more active representation of the hand of the artist on a given work such as Action Painting -it rejjppygected the tradition of applying pigment to stretched canvases supported vertically before the painter on an easel Abstract Expressionism Pollock, Number 1, Lavender Mist, 1950 •Action Painting: the artist places a canvas on the floor and drips and splatters paint onto the surface •Immense painting engulf viewer •Spontaneous painting •Limited color palette De KOONING, Woman I •Chromat ic abstractionist paintings •Visual experiences consisting of two or three large rectangles of pure color with hdhazy edges ROTHKO, No. 14 Red White Blue Ellsworth Kelly, Red Blue Green Orange Curve Post-Painterly Abstraction Helen Frankenthaler, The Bay, • Coined by critic Clement 1963 Greenberg in conjunction with an exhibit ion of the same name at the Los Angeles County Museum of Art in 1964, featuring contemporary American and Canadian artists. • Loose, visible pigment application Morris Louis, Saraband, 1959 Hyena Stomp Decanter FRANK STELLA, Mos a Menos Op (short for Optical) Art – 1960s • Artistic movement of the 1960s in which painters sought Ridge Riley, Fission, 1963 to produce optical illusions of motion and depth using only geometric forms on tow- dimens iona l surfaces • Relies on optical illusions David Smith, Cubi XIX Abstraction in Sculpture Three Ovals Soar Cubi XXVII Donald Judd, Untitled Untitled Untitled Double Wall Piece •Geometric boxlike shapes aligned in a row or on a wall •Highly polished surfaces •Personality of the artist completely suppressed •Objects have spaces between the boxes which create a dynamic interppylay of solids, voids, and shadows Poppp or Popular Art Richard Hamilton, Just What is • Draws on materials of the everyday It That Makes Today’s Homes So world, items of mass popular culture Different, So Appealing? 1956 like consumer goods or famous singers • Pop artist saw no distinction between “high” art or the design of mass- produced items • It glorifies the common place, bringing the viewer face to face with everyday reality Andy Warhol, Marilyn Monroe, 1964 dtildetail Jasper Johns, Flag Robert Rauschenberg, Canyon, 1959 Monogram, 1955-59 •Creates works with combines, which intersperse paitdinted passages with scul ltptura l e lemen ts A Qua ttro M ani IV •Combines : His personal variations of assemblages (made from already existing items) Lichtenstein, Hopeless Drowning Girl Benday Dots •Frames inspired by cartoons and comic books •Hard, precise drawing •Artist chooses a moment of transition or crisis The Head (1992), 100 Campbell Soup Cans Andy Warhol, Green Coca- Cola Bottles Campbell's Soup Can Andy Warhol, Marilyn Diptych Self-Portrait John Lennon Marilyn Monroe VIDEO: Why is this Art? Warhol's Soup Cans on Smarthistory VIDEO: Warhol's Gold Marilyn Monroe on Smarthistory Claus Oldenburg, One-person show at the Green Gallery Giant Ice Bag Floor Burger Produces Pop sculptures that incisively comment on American consumer culture Superrealism or Photorealism • Expanded Pop’s iconography in both painting and sculpture • Pop art and photorealism were both reactionary movements stemming from the ever-increasing and overwhelming abundance of photographic media, which by the mid 20th century had grown into such a massive phenomenon that it was threatening to lessen the value of imagery in art. • Photorealism uses cameras and photographs, which are then transferred to canvas in ppgaint with tight and precise compositions. AUDREY FLACK, Marilyn World War II, April 1945 •Her paintings are still lifes that present the viewer with collection of familiar objects •Incorporates photos of Marilyn Monroe to comment on her tragic life LlLyle Phil 1969 Self-Portrait CHUCK CLOSE, Big Self-Portrait Young shopper Dishwasher DUANE HANSON, Supermarket Shopper Rita the Waitress Contemporary Art Photography- After the 60s • Photographers in the 1960s, inspired by the social change of the time, created artwork that was based more on a concept than on formal beauty. The 60s began what we call the “post-modern” age. Postmodernism is an attempt to subvert and destroy boundaries based on style, medium, politics and other social constructs. The post- modernists were concerned with questioning those constructs. • The major themes in contemporary art are Identity, Time, Place, and Cu lture (including Technology). “Blaze Starr At Home”, 1964, Diane Arbus Identity • The social constructs that define both personal and group identities- gender, ethnicity, class and economic status- are a rich source of material for postmodidern artists. Most explore what social definitions of identity mean, both psychologically and “KinggQ and Queen of a Senior Citizens’ sociologically. Dance”, 1970, Diane Arbus Diane Arbus • Arbus is arguably the most influential female photographer after World War II. After studying with another famous photographer, Lisette Model, AbArbus made pho tograp hs thtthat called into question the creative rights of a photographer as well as the sheer ability of a phhhotograph to reveal something secretive. Untitled FEMINISM Elevates woman’s arts and crafts to same level as fine art. Embraces: • Arts and Crafts • Female sensuality •Increasing awareness and acceptance of feminist issues in society •Easier for female artist to express themselves in a way that would bring interest in their art to great public Judy Chicago Dinner Party 1974–79. Mixed media: ceramic, porcela in, ttiltextile • Wanted to educate viewers about women’s role in history and the fine arts • Aimed to establish a respect for women and their art • Using crafting techniques (traditionally practiced by women – china painting and stitchery) • Originally conceived as a feminist • Last Supper attended by 13 women as “honored guests” but in the course of her research the number expanded to 39 CINDY SHERMAN, Untitled Film Still #35 •69 photographs in the collection of the Museum of Modern Art, New York •Artist uses herself as the primary figure in the series •Imitates the way that images of women have been stereotypically depicted in movies •Criticizes the concept of women as objects to be merely gazed at Cindy Sherman • Sherman’s “Untitled Film Stills” cast the artist herself as a solitary heroine in a cultural drama. By playing various stereotypical roles,,p Sherman explores the meaning of identity in culture. The title of the series encourages viewers to complete the rest of the “film” on their own. Untitled Film Still #14. 1971 Ana Mendieta, •Earth/body sculpture •Appears covered with flowers in a grave or womblike cavity to address issues of birth and death along with our connection with earth. Flowers on Body Modern Architecture •Curvilinear patterns of the outside reveal a circular domed walkway on the inside •Glass dome dominates an interior well of space •Exhibits placed on the walls around the spiliiraling ramps •Circular motif dominant throughout FRANK LLOYD WRIGHT, Solomon R. Guggenheim the builidng Museum, New York City •Exterior resembles a ship, nun’s habit, a dove or praying hands •Roof seems to float over the body of the building •Random placement of windows has a deeply religious effect •SiSweeping roo fbdf bends downward over the nave LE CORBUSIER, Notre Dame du Haut, Ronchamp, France JOERN UTZON, Sydney Opera House, Sydney, Australia •Actually three buildings: the largest is the concert hall, the second the opera house, the third the restaurant •Grouppgings of fanlike vaults that resemble shi p’s sails – in Syyydney Harbor, surrounded by water on three sides •Vaults grow
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