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The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
Abstract Art: Geometry and Movement
Abstract Art: Geometry and Movement In the context of the return to Geometrical and Kinetic Art in Paris in the second half of the fifties, the formation of Equipo 57 by a group of Spanish artists and architects based in the French capital entailed a reaction against the ubiquitousness of Art Informel and Lyrical Abstraction. At the same time, it implied adopting a particularly meaningful political stance in connection with the Franco regime. In an attempt to conform to the spirit of the times and the modes of industrial production this group proposed to construct reality through an objective and quantifiable geometric language divested of all individual traces. and sculpture, which they apply to wider fields of research linked to mechanical and electrical media. The exhibition was constructed around prophetic statements such as ‘The pleasure of a new plastic beauty that moves, and moves us, lies in store.’ In the period between the two world wars Alexander Calder (1898-1976) had already ventured into this line of research from the ranks of the avant-garde through the mobile. Calder’s discourse on move- ment was enhanced in this new context, as a result of which he became a key figure bridging the gap between generations of As opposed to the insistence on individualism, the introspection of Art Informel painters artists. In his turn, Spanish artist Eusebio and the other consequences of European and American abstraction, around the mid- Sempere (1923-1985), who had settled fifties several new proposals strove to achieve a more geometrical, objective and dehu- in Paris in 1948, was immediately influen- manised art. -
CUBISM and ABSTRACTION Background
015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement. -
Shifting Momentum: Abstract Art from the Noyes Collection
Education Guide April 5 – June 6, 2018 Shifting Momentum: Abstract Art from the Noyes Collection Free Opening Reception: Second Friday, April 13, 2018 6:00 – 8:00 pm Curator’s Talk by Chung-Fan Chang: 6:00pm This show features abstract works by Dimitri Petrov, Lucy Glick, Robert Natkin, Jim Leuders, W.D. Bannard, Robert Motherwell, Frieda Dzubas, Alexander Liberman, David Johnston, Hulda Robbins, Wolf Kahn, Deborah Enight, Oscar Magnan, and Katinka Mann. Lucy Glick, Quiet Landing, oil on linen, 1986 Dimitri Petrov was born in Philadelphia in 1919, grew up in an anarchist colony in New Jersey and spent much of his career in Philadelphia. In 1977, he moved to Mount Washington, Massachusetts. Petrov later attended the Pennsylvania Academy of Fine Arts and studied printmaking with Stanley Hayter at the Atelier 17 Workshop. He was a member of the Dada movement and a Surrealist painter and printmaker. He was also the editor of a surrealist newspaper, Instead, a member of the Woodstock Artists Association, and editor/publisher of publications including the “Prospero” series of poet-artist books "Letter Edged in Black". Lucy Glick, an artist whose vividly colored paintings were known for their bold lines and sense of movement was born in Philadelphia. Glick attended the Philadelphia College of Art from 1941 to 1943 and the Pennsylvania Academy of the Fine Arts from 1958 to 1962. Her paintings were a vehicle for expressing her emotions, usually with strong lines, energetic brush strokes and a luminous quality. Robert Natkin was born in Chicago in 1930 into a large Russian-Jewish immigrant family. -
Conflicting Visions of Modernity and the Post-War Modern
Socialism and Modernity Ljiljana Kolešnik 107 • • LjiLjana KoLešniK Conflicting Visions of Modernity and the Post-war Modern art Socialism and Modernity Ljiljana Kolešnik Conflicting Visions of Modernity and the Post-war Modern art 109 In the political and cultural sense, the period between the end of World War II and the early of the post-war Yugoslav society. In the mid-fifties this heroic role of the collective - seventies was undoubtedly one of the most dynamic and complex episodes in the recent as it was defined in the early post- war period - started to change and at the end of world history. Thanks to the general enthusiasm of the post-war modernisation and the decade it was openly challenged by re-evaluated notion of (creative) individuality. endless faith in science and technology, it generated the modern urban (post)industrial Heroism was now bestowed on the individual artistic gesture and a there emerged a society of the second half of the 20th century. Given the degree and scope of wartime completely different type of abstract art that which proved to be much closer to the destruction, positive impacts of the modernisation process, which truly began only after system of values of the consumer society. Almost mythical projection of individualism as Marshall’s plan was adopted in 1947, were most evident on the European continent. its mainstay and gestural abstraction offered the concept of art as an autonomous field of Due to hard work, creativity and readiness of all classes to contribute to building of reality framing the artist’s everyday 'struggle' to finding means of expression and design a new society in the early post-war period, the strenuous phase of reconstruction in methods that give the possibility of releasing profoundly unconscious, archetypal layers most European countries was over in the mid-fifties. -
Hollywood Stars and Their Army Service from the Spanish American
James E. Wise, Paul W. Wilderson. Stars in Khaki: Movie Actors in the Army and Air Services. Annapolis: Naval Institute Press, 2000. xi + 244 pp. $24.95, cloth, ISBN 978-1-55750-958-1. Reviewed by Charles C. Kolb Published on H-PCAACA (November, 2000) Hollywood Stars and their Army Service from In Stars in Blue we learned about Wayne the Spanish American War to Vietnam Morris, Douglas Fairbanks, Jr., Henry Fonda, This splendid book is the third and fnal vol‐ Humphrey Bogart, Paul Newman, Aldo Ray, ume in historian-biographer Wise's trilogy and it Ernest Borgnine, Robert Montgomery, Cesar makes a ftting companion to its two illustrious Romero, and dozens of other flm stars. With the predecessors. In 1997 Wise and his co-author Ann sequel, Stars in the Corps , we discovered the con‐ Rehill wrote Stars in Blue: Movie Actors in Ameri‐ tributions made by more than 30 motion picture ca's Sea Services in which flm actors who served stars including Sterling Hayden, Tyrone Power, in the U.S. Navy, Naval Reserve, Coast Guard, or Steve McQueen, Lee Marvin, Gene Hackman, Coast Guard Reserve from 1920 through the Kore‐ George C. Scott, Harvey Keitel, Brian Dennehy, an War are profiled. Wise and Rehill also au‐ Hugh O'Brien, Ed McMahon, and Dale Dye. As in thored Stars in the Corps: Movie Actors in the these two volumes, the emphasis in Stars in Khaki United States Marines (1999) which covers the is on World War II. Many of the men who served same period but emphasizes Marines in the Pacif‐ in the U.S. -
Purple Heart - Wikipedia, the Free Encyclopedia Page 1 of 12
Purple Heart - Wikipedia, the free encyclopedia Page 1 of 12 Purple Heart From Wikipedia, the free encyclopedia The Purple Heart is a United States military decoration awarded in the name of the President to Purple Heart those wounded or killed, while serving, on or after April 5, 1917, with the U.S. military. With its forerunner, the Badge of Military Merit, which took the form of a heart made of purple cloth, the Purple Heart is the oldest military award still given to U.S. military members; the only earlier award being the obsolete Fidelity Medallion. The National Purple Heart Hall of Honor is located in New Windsor, New York. Contents ◾ 1 History ◾ 2 Criteria Purple Heart ◾ 3 Appearance Awarded by United States Armed Forces ◾ 4 Devices Type Military medal (Decoration) ◾ 5 Presentation Eligibility Military personnel ◾ 6 Requests Awarded for "Being wounded or killed in any action against an enemy of the ◾ 6.1 Retroactive requests United States or as a result of an ◾ 6.2 Destroyed record requests act of any such enemy or ◾ 7 Notable recipients opposing armed forces" ◾ 7.1 Most Purple Heart awards Status Currently awarded ◾ 8 In popular culture Statistics ◾ 9 See also First awarded February 22, 1932 Total awarded Approximately 1,910,162 (as of ◾ 10 References 5 June 2010) [1] ◾ 11 External links Precedence Next (higher) Bronze Star Medal [2] History Next (lower) Defense Meritorious Service Medal [2] The original Purple Heart, designated as the Badge of Military Merit, was established by George Washington—then the commander-in-chief of the http://en.wikipedia.org/wiki/Purple_Heart 6/ 17/ 2014 Purple Heart - Wikipedia, the free encyclopedia Page 2 of 12 Continental Army – by order from his Newburgh, New York headquarters on August 7, 1782. -
Lost, Loose and Loved: Foreign Artists in Paris 1944-1968
Lost, Loose and Loved: Foreign Artists in Paris 1944-1968 DATES: 20 November, 2018 – April 22, 2019 PLACE: Museo Reina Sofía, Sabatini building 1st floor. Madrid ORGANIZATION: Museo Nacional Centro de Arte Reina Sofía CURATOR: Serge Guilbaut COORDINATION: Soledad Liaño and Belén Díaz de Rábago RELATED ACTIVITIE:S The Jazz Age in Paris. Conference of Serge Guilbaut and bebop concert by René Urtreger. November 20, 2018 - 19:00 h. Nouvel building, Auditorium 400 In collaboration with: Lost, Loose and Loved: Foreign Artists in Paris 1944-1968 is an exhibition organized by the Museo Reina Sofía with the collaboration of the Community of Madrid that brings the public closer to the complex artistic scene developed in the French capital after the Second World War and that recovers an outstanding cultural production often forgotten by a large part of art historiography. Thanks to a representative group of more than one hundred artists of different nationalities who covered numerous styles and formats (from painting and sculpture to cinema, music or photography) and more than 200 works - many of them never seen before - this exhibition sheds light on the richness of this period, which was undoubtedly crucial in the 20th century. Throughout the more than twenty years that make up the chronology addressed, Paris, a city that sought to restore after the devastation of war the reputation it once enjoyed as the cultural capital of the world, welcomed in successive waves a very large number of artists from America, Europe, Africa and Asia. In 1965, for example, there were some 4,500. Some were present long ago, such as Kandinsky or Picasso, but many others gradually fled their countries because of racial, homophobic or political discrimination or because they aspired to become important artistic voices thanks to critical Parisian filters. -
Lyrical Abstraction
Lyrical Abstraction Findlay Galleries presents the group exhibition, Lyrical Abstraction, showcasing works by Mary Abbott, Norman Bluhm, James Brooks, John Ferren, Gordon Onslow Ford, Paul Jenkins, Ronnie Landfield, Frank Lobdell, Emily Mason, Irene Rice Pereira, Robert Richenburg, and Vivian Springford. The Lyrical Abstraction movement emerged in America during the 1960s and 1970s in response to the growth of Minimalism and Conceptual art. Larry Aldrich, founder of the Aldrich Museum, first coined the term Lyrical Abstraction and staged its first exhibition in 1971 at The Whitney Museum of American Art. The exhibition featured works by artists such as Dan Christensen, Ronnie Landfield, and William Pettet. David Shirey, a New York Times critic who reviewed the exhibition, said, “[Lyrical Abstraction] is not interested in fundamentals and forces. It takes them as a means to an end. That end is beauty...” Jackson Pollock’s drip paintings and Mark Rothko’s stained color forms provided important precedence for the movement in which artists adopted a more painterly approach with rich colors and fluid composition. Ronnie Landfield, an artist at the forefront of Lyrical Abstraction calls it “a new sensibility,” stating: ...[Lyrical Abstraction] was painterly, additive, combined different styles, was spiritual, and expressed deep human values. Artists in their studios knew that reduction was no longer necessary for advanced art and that style did not necessarily determine quality or meaning. Lyrical Abstraction was painterly, loose, expressive, ambiguous, landscape-oriented, and generally everything that Minimal Art and Greenbergian Formalism of the mid-sixties were not. Building on Aldrich’s concept of Lyrical Abstractions, Findlay Galleries’ exhibition expands the definition to include artists such as John Ferren, Robert Richenburg and Frank Lobdell. -
Reconsidering Stone's Platoon
disClosure: A Journal of Social Theory Volume 1 Rethinking Contemporary Mythologies Article 4 4-15-1992 The (Un)Reality of War: Reconsidering Stone's Platoon Tony Grajeda State University of New York at Buffalo DOI: https://doi.org/10.13023/DISCLOSURE.01.04 Follow this and additional works at: https://uknowledge.uky.edu/disclosure Part of the Arts and Humanities Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License. Recommended Citation Grajeda, Tony (1992) "The (Un)Reality of War: Reconsidering Stone's Platoon," disClosure: A Journal of Social Theory: Vol. 1 , Article 4. DOI: https://doi.org/10.13023/DISCLOSURE.01.04 Available at: https://uknowledge.uky.edu/disclosure/vol1/iss1/4 This Article is brought to you for free and open access by disClosure: A Journal of Social Theory. Questions about the journal can be sent to [email protected] A. DISALVO The (Un)Reality of War. Reconsidering Stone's Platoon by Tony Grajeda American Studies State University of New York at Buffalo Thirty years from now people will think of the Viet Nam War as Platoon. - David Halberstam' 1 What is one to make of such a comment ronceming Oliver Stone's 1986 film Platoon? Halberstam, a Vietnam War rorrespondent for the New York Times, respected journalist and author, "a man who's been there," according to Time, has been called in to pa$ judgment not only on feality but, as film critic, authorized to attest to its representation Widely hailed as the most realistic portrayal of war ever committed to film, for this very reason Platoon raises slippery questions over representation of 'the real.' Yet in its almost fable-like story of a young man's ascension into wisdom, as well as its constructionofanarchetypalheroicwarrior,Platoonalsoreachesmightilyfor a mythic grandeur unbounded by time or place. -
How to Build a World Art: the Strategic Universalism of Colour Reproductions and the UNESCO Prize (1953-1968)
Artl@s Bulletin Volume 10 Issue 1 Images in Circulation Article 6 How to build a World Art: The Strategic Universalism of Colour Reproductions and the UNESCO Prize (1953-1968) Chiara Vitali Ecole Normale Superieure de Paris, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Contemporary Art Commons, Cultural History Commons, European History Commons, Fine Arts Commons, Interdisciplinary Arts and Media Commons, Latin American History Commons, Museum Studies Commons, Photography Commons, Sociology of Culture Commons, and the Visual Studies Commons Recommended Citation Vitali, Chiara. "How to build a World Art: The Strategic Universalism of Colour Reproductions and the UNESCO Prize (1953-1968)." Artl@s Bulletin 10, no. 1 (2021): Article 6. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Images in Circulation How to build a World Art: The Strategic Universalism of Colour Reproductions and the UNESCO Prize (1953- 1968) École Normale Supérieure, Paris Chiara Vitali Abstract What role did UNESCO play in the art world of the post- war era? This article makes use of published and archival sources in order to clarify the utopia of a “World Art” that shaped UNESCO and led to the “Archives of Colour Reproductions of Works of Art”, a project of worldwide collect and diffusion of images of “masterworks” inspired by Malraux’s “Museum without walls”. -
Comparing and Contrasting Expressionism, Abstract, and Pop Art William Johnson
University of South Florida Scholar Commons Outstanding Honors Theses Honors College 5-2-2011 Comparing and Contrasting Expressionism, Abstract, and Pop Art William Johnson Follow this and additional works at: http://scholarcommons.usf.edu/honors_et Part of the American Studies Commons Scholar Commons Citation Johnson, William, "Comparing and Contrasting Expressionism, Abstract, and Pop Art" (2011). Outstanding Honors Theses. Paper 86. http://scholarcommons.usf.edu/honors_et/86 This Thesis is brought to you for free and open access by the Honors College at Scholar Commons. It has been accepted for inclusion in Outstanding Honors Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Johnson & Mostajabian 1 William Johnson and Kiana Mostajabian IDH 5975 Wallace Wilson March 29, 2011 From Mondrian to Warhol: Creating Abstract, Abstract Expressionism, and Pop Art Introduction: This is not your typical art history thesis. We have written this thesis to educate not only ourselves, but to give other non art and art history majors, an idea of where to start if you were thinking about exploring the subject. With little background in art and art history, we didn’t know where to start looking, but quickly found three art movements that interested us the most: Abstract, Abstract Expressionism, and Pop Art. With our topics in mind we decided to paint six paintings, two in each movement, and yet it seemed that the six paintings by themselves were not enough. We wanted to learn more. To supplement those six paintings we wrote this paper to give some background information on each movement and how we incorporated the styles of each movement into our paintings.