February Break Assignment Assignment: Please read through the following pages of my notes about the AP College Board 250 piece numbers 119-152 (this covers through the end of Content Area 4, Later Europe and Americas). While you read through the notes, your assignment is to write down a piece of art that can be considered the context for each piece (you may want to write down a small explanation of a word or two explaining why the compare/contrast). Note: YOU WILL NOT BE REQURIED TO RE-WRITE ALL OF THESE NOTES (although it is recommended). You will hand in the following two pages with written out contexts on February 27th. Enjoy your extra long February Break!

Due Date: 02.27.17

List of Works:

119. The Burghers of Calais, ______120. , ______121. The Coiffure, ______122. The Scream, ______123. Where do we come from? What are we? Where are we going?, ______124. Carson, Pirie, Scott and Company Building, ______125. Mont Sainte-Victoire, Paul Cézanne ______126. Les Demoiselles d'Avignon, ______127. The Steerage, ______128. The Kiss, Gustav Klimt ______129. The Kiss, Constantin Brancusi ______130. The Portuguese, ______131. The Goldfish, ______132. Improvisation 28 (second version), Vasily Kandinsky ______133. Self-Portrait as a Soldier, ______134. Memorial Sheet of Karl Liebknecht, Käthe Kollwitz ______135. Savoye, ______136. Composition with Red, Blue and Yellow, ______137. Illustration from The Results of the First Five-Year Plan, Varvara Stepanova ______138. Object (Le Déjeuner en fourrure), Meret Oppenheim ______139. , ______140. The Two Fridas, ______141. The Migration of the Negro, Panel no. 49, Jacob Lawrence ______142. The Jungle, Wilfredo Lam ______143. Dream of a Sunday Afternoon in Alameda Central Park, Diego Rivera ______144. , ______145. Woman I, ______146. Seagram Building, , ______147. Marilyn Diptych, Andy Warhol ______148. Narcissus garden, Yayoi Kusama ______149. The Bay, Helen Frankenthaler ______150. Lipstick (Ascending) on Caterpillar Tracks, Claes Oldenburg ______151. Spiral Jetty, Robert Smithson ______152. House in New Castle County, Robert Ventura, John Rausch and Denise Scott Brown ______1800-1850 1850-Present Realism 1870-1970 1886-1940 1880s-1890s Naturalism 1869-1890 1884 Neo-Impressionism (Pointilism) 1885-1900 Post-Imporessionism 1890-1910 1900-1930 Classical Revival in Modern Art 1900-Present Art History 1920s Primitivism/Primitive Art 1908-1914 1909-1915 1916-1930 1917-1921 1917-1931 1920s-1903s Social Realism 1920s 1870 to 1980 19402-1950s 1870 to 1980 1960s 1970-Present Post-Moderism

Movements: 1870 to 1930 Constuctivism

Fauvism Futurism De Social Realism Stijl Suprematism 1870 1880 1890 1920 1930 1900 1910

Impressionism Symbolism Art Nouveau Cubism Dada Surrealism

Post-Impressionism Expressionism `

Movements: 1940 to 1980 Conceptual Art Photorealism Kinetic and Earth Art Painting Op Art 1940 1960 1970 1980 1950

Post- Abstract Expressionism Neo-Dada Pop Art Post-

Minimalism Neo-Expresionism Performance Art Feminist Art depict the incidental, momentary ImpressionismImpressionism and passing aspects of reality 1 The Saint-Lazare Station , 1877, oil on canvas, 2.5’x3.5’ - a very contemporary and urban scene - part of 12 other inked paintings (although the fact of being a series is debated), 6-8 of which was a part of the 3rd Impressionist Exhibition - convveys the energy and vitality of ’ modern transportation system - themes: play of light filtered through smoke, billowing steam & locomotives - paint application reflects the energy of urban life at the time - captures all of the senses of the audience, smell, sight, sound & emotion

The Burghers of Calais Auguste Rodin, 1884-1895, bronze, 6.6’x6.7’x6.4’ - commissioned by the French city of Calais to commemorate the heroism of Eustache de Saint-Pierre - Rodin followed the story as written down by Jean Froissart, a 14th c. French chronicler - the story goes... during the 100 Year’s War, King Edward III of England made a deal with Calais that if they wanted to save themselves and their city, they were to give up the keys to the city and six prominent members of the city council - then men are, Eustache (the leader), Jean de-Aires (carrying the giant set of keys), Andrieu de’Andres, Jean de Fiennes, and Pierre and Jacques de Wissant - the artist decided to represent the moment as they were about to leave the city to surrender their lives (which were all spared, little did they know!) - the patrosn were unhappy with the final result... they only wanted Eustache and in a glorified, triumphant pose - Rodin’s detail in the clothing of the men and it’s weighty-ness and connection to the ground reflects their struggle with wanted to live but also wanting to save their city - Rodin also created the men about lifesize and on a level that which the viewers could connect with the piece emotionally - patron unhappy and placed on a pedestal so the could be viewed heroically - artist took many risks!!!

The Coiffure Mary Cassat, 1890-1891, drypoint and aquatint on paper, 1.4’x1’

- inspired by the École des Beaux-Arts’s (School of Fine Arts in Paris) showcas of an exhibition of Japanese woodblock prints - this piece was oen of hundreds that she made - the phrase “la coiffure” evokes the image of a wealthy woman going through the rituals of grooming, dressing, and preparing one’s hair - a bit of a voyeuristic approached that can be compared to La Grand Odalisque - desired a sense of structure/definitive linework (the woman is not sensual and details are muted) - aquatint was a process that used copper that allowed for richer and darker tones examination of expressive Post-ImpressionismPost-Impressionism capabilities of formal elements (line, pattern, form, color, etc.)

The Starry Night Vincent van Gogh, 1889, oil on canvas, 2.4’x3’

- painted one year before his death in an asylum that he committed himself to - he was attempting to communicate his feelings of the overwhelming and “electrifying vastness of the universe” - shows flame-like cypress trees (somtimes interpretted as a symbol of death) and brilliantly contrasting and swirling sky of blues and yellows (i.e. the artist’s turbulent state of mind) - en plein air - outdoors; impasto - paint applied thickly - the village was more creative license than reality as van Gogh had a view of gardens - the church he painted may have been him attempting to reconcile his conflicted views on religion

Monte Sainte-Victorie Paul Cezanne, 1902-1904, oil on canvas, 2.4’x3’

- the artist painted this mountain which was near his home - he sought to order all of the lines, planes, and colors of nature - he need to check back and forth between his painting and the scene constantly - use of color (particularly warm & cool colors) to create volume and depth - the audience is supposed to get a real experience when viewing his painting - he also included all of the houses, roads, and fields

Where do we come from? What are we? Where are we going? Paul Gauguin, 1897-1898, oil on canvas, 4.6’x12.3’

- location is Tahiti, the artist traveled to the South Pacific for an escape from materialistic Europe - he struggled a lot with his health, an unsuccessful suicide, and hostile reception for his work - we seea tropical landscape and native people - this is a very pessimistic view of our life cycle’s inevitability - the groups of people represent the three stages of life: 1. a woman with a baby. 2. a group of younger middle aged people. 3. an old woman on the brink of death - he thought this piece to be the best of all of his work a style of decorative art, architecture, and design characterized by intricate linear designs and ArtArt NouveauNouveau flowing curves based on natural forms Carson, Pirie, Scott and Company Building

- department store constructed in two parts Louis Sullivan, 1899 and 1903-04, steel frame construction - open and well-illuminated display spaces - like pictures, the displays had elaborate frames - “form must ever follow function” - that a building’s design must reflect the social purpose of a particular space - ground floor is for businesses, the top floors serving as offices, a cornice tops off the building - emphasizes upward momentum with many repeating vertical lines

The Kiss Gustav Klimt, 1907-1908, oil and gold leaf on canvas, 6’x6’ - shows decadence and oppulence as well as a sensuous subject matter - Klimt’s art was not received well before this piece - it was bought before it was finished and broke sale records - could possibly be a self portrait - gold recalls the Byzantine tradition - bodies are made entirely of shapes and decorative design, faces are natural - there is a comfortable passivity and a delicate closeness between the two figures

a style of painting with vivid expressionistic fauvismfauvism and nonnaturalistic use of color Goldfish Henri Matisse, 1912, oil on canvas, 4.8’x3.1’ - bright color and a lot of contrast, this scene was in Matisse’s own home - became intrigued by goldfish after a trip to Morocco - the goldfish symbolizes a tranquil state of mind and possibly a paradise lost - painting asks the viewer to indulge in the simply, soft movements of the fish and the tranquility of the scene - themes: use of complementary colors, quest for an idyllic paradise, appeal for contemplative relaxation for the viewer and complex construction of pictorial space

promotion of mural painting generally with social MexicanMexican MuralismMuralism and political messages as part of efforts to reunify the country under the post Mexican Revolution government Dream of a Sunday Afternoon in Alameda Central Park Diego Rivera, 1947, mural, 15.8’x49.2’ - hundreds of characters from 400 years of ’s history gather in ’slargest park - depicted: Hernan Cortez (ended the Aztec reign), Sor Juana, Porfirio Diaz (dictatorship inspired Mexican Revolution) - Frida Kahlo standing behind a younger version of her husband - holds a yin-yang symbol inferred the complicated nature of their relationship - the left side of the composition highlights the conquest and colonization of Mexico, the fight for independence and the revolution occupy the majority of the central space, and modern achievements fill the right - includes all parts and does not edit out history and includes dreams and nightmares with a single viewpoint was abandoned and use was made of simple geometric shapes, Cubism interlocking planes, and, later, collage

Les Demoiselles d’Avignon Pablo Picasso, 1907, oil on canvas, 8’x7’8” - very cramped, claustrophobic space depicting five women from a brothel on Avignon Street in Barcelona who are quite literally trapped within the painting’s borders - sharp jagged and “shattered” forms, almost as if the woman are dangerously formed from shardes of broken glass - Picasso was referred to as a “creative vacuum cleaner” and other artists often stopped inviting him to their studios - this particular piece was based on a piece by Matisse and Picasso’s goal was to outdo him - Picasso was inspired by Egyptian and Iberian style art (in fact, he purchased two Iberian busts from a museum secretary who stole them from the museum! He later returned them anonymously) - he also was inspired by African masks for the faces - there were about 100 sketches done before the actual painting, and originally the plan was to include male figures in the scene as well

The Portuguese Georges Braque, 1911, oil on canvas, 3.8’x2.7’ - desired to express/convey his entire visual understanding of an object/subject - shows a guitar player on a dock with the use of earth tones - attempt to overcome the unified singularity of an object - wanted to showed the front, back, inside, outside, and side view of the subject - the stenciled letters and roman numerals in the top right corner simply signify the newspaper publication on which they are painted - they suggest the material existence of the painting - aim is not to deceive but to be as clear and transparent as possible when conveying the subject

marked especially by the use of black and with the De Stijl primary colors, rectangular forms, and asymmetry. Composition with Red, Blue, and Yellow Piet Mondrian, 1930, oil on canvas, 1.5’x1.5’ - complete and total abstraction, only the primary colors as well as black and white - focus on the material of the paints rather than the naturalistic represenation of objects - believed his abstraction could serve as a universal pictorial language representing the dynamic, evolutionary forces that govern nature and human experience - founded De Stijl (the style) which focused on abstract, geometric principles - this painting shows a commitment to asymmetry and pure planes of color while still finding balance among the various shapes and a harmonious tension - his brushwork is present and we see an artist’s desire for a universal truth with the intimately personal experience of the artist - he also founded neo-plasticism, a movement that meant new plastic (the artist’s tools) with an emphasis more on architectural style, InternationalInternational StyleStyle form and aesthetics than the social aspects of (Architecture)(Architecture) the modern movement as emphasised in Europe Seagram Building Ludwig Mies van der Rohe, 1958, steel beam construction - located in NYC on Park Ave. and 53rd - Seagram was the world’s largest Canadian liquor company at the time - this was the first opportunity for the artist to make an office building - the structure is very simply with bronze and subtle colors - it is modern and clean as well as classical and there is a sense of sophistication - there is a “Parthenon” feel with columns that are vaguely fluted - there is an upward soaring feeling similar to the Carson, Pirie, Scott and Company Building, aided by decorative steel beams cultural, social, and artistic explosion that took place in Harlem, New York, it was known as the "New Negro Movement” & was HarlemHarlem RenaissanceRenaissance considered to be a rebirth of African-American arts Migration of the Negro No. 49 Jacob Lawrence, 1940-1941, tempera on hardboard, 18”x12” - depicts a segregated room divided by a rope, painted with large, geometric shapes and neutral colors - part of a 60 painting series depicting African American migrating north in search of a better life but still finding segregation - the artist wanted to bring this situation to the attention of his viewers - the left side of the piece has nicer furniture and place settings at it, while the right side is clearly not as well presented - the golden rope down the center neatly divides the composition in half giving it a symmertrical feel the loose term given to the succession of styles and movements in art and architecture which dominated ModernismModernism Western culture from 19th Century up until the 1960's The Kiss Constantin Brancusi, 1916, limestone, 1.9’x1.1’x.8’ - brings a primitive truth to his artwork (which he brings from his home in Romania to Paris where he worked) - was his student and greatly inspired by him - attempt to retain the materiality and the simple and childlike style reveals the structure of the limestone - the two figures morph into 1 and we have the union of male and female (eyes also make 1) - this is the fourth version of this piece and it originally intended to not have a base but sit diretcly on the ground Le Corbusier, 1929, reinfored concrete - represents the culmination of a decade during which the architect worked to articulate the essence of - his famous quote, that “The house should be a machine for living in,” is perfectly realized within the forms, layout, materials, and siting of this building - offered an escape from the crowded city for its wealthy patrons - the site allowed for total creative freedom - the delicate floating box that he designed is both functional house and modernist sculpture, elegantly melding form and function - Le Corbusier sought to isolate what he called type forms, which were universal elements of design that can work together in a system - stark white exterior and fluid interior with many cruved walls - contrast between the sharp angles of the plan and the dynamism of the spaces inside charge the house with a subtle energy - there is a salon, formal space, and roof terrace - it is clean and simple and reflects the modernism ideals it’s goal was to present the world solely from a subjective perspective, ExpressionismExpressionism distorting it radically for emotional effect in order to evoke moods or ideas

The Scream Edvard Munch, 1910, tempera on board, 2.2’x2.7’

- theme of most expressionist art is that humans are powerless to the great natual forces of death, love, and the emotions that go with them - this is a very dramatic and visual representation of emotion - a skeletal/primal scream (almost echoes within the viewer) that came to Munch when we was walking along a bridges with some friends during a sunset - 3 sections: the bridge, the fjord, and the sky - artist’s attempt at synesthesia

Self Portrait as a Soldier Ernst Kirchner, 1915, oil on canvas, 2.3’x2’ - shows the artist in his studio, no on a battlefield - his body is mutilated (amptutated arm) and there is a nude model behind him - part of a movement called Die Bruck (The Bridge) which was the German Expressionist movement - similar to primitive art in that it is honest and direct - forms are long and rough - Kirchner volvunteered for the war as a driver to avoid more dangerous positions - was sent home because of his heath so he encountered no actual war hardships - this painting is merely a reflection of his own personal fears - the mutilated arm is not an injury to himself, but a potential injury to his identity as an artist - during the war, Kirchner suffered from alcohol and drug abuse which rendered his arms and legs paralyzed (in essense, his fears were self-fulfilling)

Memorial Sheet of Karl Liebknecht Kathe Kollwitz, 1919-1920, woodcut heightened with white and black ink, 1.2’x1.7’

- created in response to the assassination of Communist leader Karl Liebknecht during an uprising of 1919 - unique among her prints, and though it memorializes the man, it does so without advocating for his ideology - in the style of a Lamentation - sense of space is a bit squished (gives the impression that many people are coming to pay their respects without having to sacrifice the detail of any individuals) - trying to represent the horror of death and war through stark black and white colors - composition divided into three horizontal sections - Kollwitz was not a communist but she admired this man’s charisma the belief that human OrganicOrganic ArchitectureArchitecture life is part of nature Fallingwater Frank Lloyd Wright, 1935-1938 - located in southwest Pennsylvania and was commissioned by Eddgar Kaufmann Jr. - Wright was known to have an uncanny sense of “genus loci” or spirit of place - the story goes that Wright procrastinated for 9 months and then finally began the drawings when Kaufmann was on his way to come see what Wright had come up with so far - the contouring of the house into cantilevered ledges responds so sympathetically to the rock strata of the stream banks that it does make Bear Run a more wondrous landscape than it had been before - further emphasizes the connection with nature by liberal use of glass - after 7 years the balconies and cantilevers began to sag and a system was devised using tensioned cable to stablize the structure

an artistic and architectural philosophy that ConstructivismConstructivism was a rejection of the idea of autonomous art Illustration from The Results of the First Five-Year Plan Varvara Stepanova, 1932, collage (photomontage) - from a USSR magazine publication - the 5-Year Plan was to grow the economy and accelerate industrialization, which failed and resulted in povery - this piece has a limited color palette and a mis-matched scale to achieve a sense of dynamism - the artwork tackles idealism in the leader (his eyes looking left towards the “future”) as well as propaganda - this photomontage is an ideological image intended to help establish, through its visual evidence, the great success of the Plan - she was very creative and a great poineer of her craft

consisted of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing DadaDada nonsense, irrationality, and anti-bourgeois protest in their works The Fountain Marcel Duchamp, orig. 1917, remade 1964, glazed ceramic, 2’x1.2’x1.7’ - the urinal was originally going to be thrown away, but Duchamp purchased the piece, put it on its side, and signed it with a false name R. Mott - Mott being the brand of ceramics - by calling it the fountain, he gives it a new function, but viewers still are reminded of its original intent - Duchamp invented a type of art with this piece, called the Readymade - he submitted the piece for an art show, but it was rejected (the art show’s original ideal was that they wouldn’t reject anything) - this piece deals with the concept of transformation and alchemy (transformation of ordinary materials) - it also asks: what is art? what does the artist do? (but in the most absurd way possible) - does the artist have to make the art or can it just be a theory, philosophy, or idea? movement that sought to release the creative potential of the unconscious mind, for example SurrealismSurrealism by the irrational juxtaposition of images Object (La Dejeuner en fourrure) Meret Oppenheim, 1936, fur-covered cup, saucer, and spoon, cup = 43/8 “ diameter, saucer = 93/8 “ diameter, spoon = 8” long, overall height 27/8 “ - known for creating assemblages (a work of art made by grouping found or unrelated objects) - “anything can be covered in fur! more dur please!!” - this is called a surrealist object and the fur used is gazelle fur - “objects with symbolic function” in other words, how might an otherwise typical, functional object be modified so it represents something deeply personal and poetic? - Oppenheim emphasizes the physicality of the objects and how they are altered by the fur - viewers declared it the “quintessential surrealist object” and the prestige and focus drove Oppenheim out of the limelight for years during which she destroyed any of the artwork she made

The Two Fridas Frida Kahlo, 1939, oil on canvas, 5.6’x5.6’ - a combination of indigenous and traditional style clothing - portrays a double self portrait - she made over 200 works in her lifetime and lived through a bus accident that left her crippled - she also suffered from polio and endured at least 32 operations - the two portraits are connected through holding hands as well as the vein - the left Frida is strong and clamps off thei vein with a hemostat - the right Frida has an exposed heart and pines for a lost love (she was divorced from Diego Rivera at the time) - she often did not vary from her real features in her portraits - she reflected, “I paint self-portraits because I am so often alone, because I am the person I know best”

The Jungle Wilfredo Lam, 1942-1943, gouache on paper mounted on canvas, 8.3’x8’ - gouache is like a more opaque watercolor - the figures are squished and indistinguishable from each other, almost reminiscent of a funhouse mirror - sugarcane is present, which was actually alien to the location that the title implies - however, Lam was from Cuba and sugarcane was a huge export - while Lam was inspired by the Surrealists in Europe, he retained Cuban symbolism in his artwork - the legs on the bottom half contrast to the torsoes and bodies of the top half creating an uneasy lack of balance a development of that aimed at a AbstractAbstract ExpressionismExpressionism subjective emotional expression with particular Improvisation 28 (second version) emphasis on the creative spontaneous act

Vasily Kandinsky, 1912, oil on canvas, 3.7’x5.3’ - experimented a lot with synesthesia - like music, painting can take us places without needing to move - Kandinsky composed with forms that were rooted in stories of the bible - this is sort of an atonal moment, lacking a definite harmony or meoldy - the result is a composition that is caucophonous but brilliantly abstract in color - in it we can see the great flood, a church, firing canons, riding horses (maybe redemption), and possibly the oncoming of the apocalypse - greatly influenced by Schonberg (a composer at the turn of the century)

Woman I Willem de Kooning, 1950-1952, oil on canvas, 6.3’x4.8’

- de Kooning was originally trained as a classical artist - this series of paintings was a “return to the figure” - the woman can be described as ugly, skull-like, muscular, aggressive, and de Kooning takes a masagenist approach/view of her - he painted and layed until the layers fell apart on top - there is about 80 paintings layered within this one piece - almost a Venus of Willendorf-like comparison can be made - there is a prominent culture of “pinup” happening at the time period - this is de Kooning’s primitive and sort of animalistic version of the “pinup”

ContemporaryContemporary a modern method of taking pictures, and the term is usually used to refer to work that is either abstract or PhotographyPhotography unusual in its subject matter.

The Steerage Alfred Stieglitz, 1907, photography, 1.1’x.9’ - the artist was on a trip with his family (wife and daughter) but it was particularly stressful for him - there were rumors circulating about a possible affair and he felt extremely out-of-place in the presence of the wealthy around him - this feeling inspired him to snap this photograph - this piece encapsulated his career’s mission to elevate photography to the status of fine art by engaging the same dialogues around abstraction that preoccupied European avant-garde painters - there is a very “documentary” type feel and a truth-to-appearance of the subjects - although the artist was often criticized for his overlooking of the people in the photo art based on modern popular culture and the Pop Art mass media, especially as a critical or ironic Pop Art comment on traditional fine art values Marilyn Diptych Andy Warhol, 1962, acrylic on canvas, 6.7’x4.8’ - the process of silkscreening was used to reproduce the portrait of Marilyn Monroe - at first glance you can compare this piece to religious works, and here Warhol has immortalized this pop culture icon - the size and number of images demands the attention of the viewer and due to the repetition it is hard to focus - Warhol appropriates a pre-existing image of Monroe and begins to transform it into a very impresonal image - through the flatness of the color, the artist also translates an emotional flatness to the image, creating her as an automaton - she becomes merely a one-dimensional (sex) symbol—perhaps not the most appropriate object of our almost religious devotion - identity of the subject as well as artist becomes unclear - Monroe becomes a mask and almost ghostly and through the way he has created this piece, has de-sensitizes us to her image

Narcissus Garden Yayoi Kusama, 1966, installation, 1,500 mass produced silver globes - the globes produced reflections of the surrounding landscape, structures, and visitors - reflecting vanity and self-absorbtion, asking the audience to confront their own vanity and ego - on the opening day she acted like a peddler and sold the globes for $2.00 each - unscoring the economic system embedded within art production - seduced by his/her own reflective images on the convex surfaces, viewers snap photographs with a smart phone and instantly upload them to social media for the rest of the world to see

Lipstick (Ascending) on Caterpillar Tracks Claes Oldenburg, 1969-1974, corten steel, aluminum, cast resin, polyeurethane enamel, 24.3’x24.9’x10.8’

- created with the students of the artist’s alma mater, (students protesting the Vietnam War) - placed in the school’s Beinecke Plaza which claimed a visible space for the anti-war movement while also poking fun at the solemnity of the plaza - the original remained in Beinecke Plaza for ten months before Oldenburg removed it in order to remake the form in metal and the resulting sculpture was placed in a less-prominent spot on Yale’s campus, where it remains to this day - the artist combined the highly “feminine” product with the “masculine” machinery of war and in doing so, he playfully critiqued both the hawkish, hyper-masculine rhetoric of the military and the blatant consumerism of the United States - the large lipstick tube is phallic and bullet-like, making the benign beauty product seem masculine or even violent and the juxtaposition implied that the U.S. obsession with beauty and consumption both fueled and distracted from the ongoing violence in Vietnam - blurred the lines between public and private, and between the war in Vietnam and culture of the United States painting characterized by simplicity ColorColor FieldField PaintingPainting of line and a focus on color as the subject rather than as an add-on

The Bay Helen Frankenthaler, 1963, acrylic on canvas, 6.9’x6.10’ - she used the “soak-stain” method which required the artist to pour thinned acrylic paint on un-primed, stretched canvas, so that the paint could soak into the fabric - although she had to account for gravity and the ebb and flow of a liquid across a flat surface, so a fascinating aspect of Frankenthaler’s method is the blend of the artist’s control paired with the unpredictability of the forces of nature - there is a distinct sense of sponteneity as well as devotion to color - the artist has allowed the material to work its own magic and flow and move on its own - this had been done by some previous artists like Pollock, but not to this level for which the material of the paint has complete control over the look of the end result - this piece obviously implies a water formation of some sort, per-snaps a bay? - the green of the “grass” and blue of the “water” meet in a very organic and natural kind of way an in which landscape LandLand ArtArt and the work of art are inextricably linked Spiral Jetty Robert Smithson, 1970, rocks and dirt (earth), 1,500’ long 15’ wide - couterclockwise spiral juts out into the Great Salt Lake, Utah - this is a site-specific artwork and cannot be moved from its current location (also called installation art) - another phrase used to describe this piece is process art which means it is forever changing - the use of durable materials and a basic shape brings to mind prehistoric and mounds - there is a very abstract quality within its large3 construction - there is a 32 minutes color film that documents the creation of this piece - Smithson had a difficult time convincing the contractor to help with this project and in total they moved about 6,650 tons of rocks - links our natural world to art and sort of implies the importance of the physical presence of jetties (raises awareness) - has gained popularity after a drought revealed the form in a more easily viewed way

a body of art movements that sought to Post-ModernPost-Modern contradict some aspects of modernism or some aspects that emerged or developed House in New in its aftermath Castle County Robert Ventura, John Rausch and Denise Scott Brown, 1978-1983 - the artists borrowed freely from previously created architecture qualities for this house - the house was built for a family of three and sits surrounded by rolling fields, beside a thickly-wooded forest - at first the construction looks traditional, white exterior and wooden shingles, however there are many mischievous and perplexing architectural features - there is a falsely constructed facade (almost like a high way billboard) that has flat doric columns and a half moon outline of a window - the inside has a spacious, simple, and comfortable interior with many wooden details - there are quirky chandeliers and jigsaw-like cutouts and elements