American art, 1970 to Present
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Transcript of American art, 1970 to Present
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Art Since 1970
postmodernism: a reaction against modernist formalism, seen as elitist . Far more encompassing and accepting than the more rigid confines of modernist practice, postmodernism offers something for everyone by accommodating a wide range of styles, subjects, and formats, from traditional easel painting to installation and from abstraction to illusionism. Postmodern art often includes irony or reveals a self-conscious awareness on the part of the artist of art-making processes or the workings of the art world.
-from Gardner’s Art Through the Ages
http://www.youtube.com/watch?v=QdO9orWQ-Nk
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Art Since 1970Themes & Styles:• Appropriation
(pastiche) • Multi-media works• Blurring of boundaries
between high vs. low• Self-consciousness • Deconstruction
(destabilizing meaning)• Socio-political nature• Inclusiveness &
individuality
Kehinde WileyNapoleon Leading the
Army over the Alps, 2005, oil, American
Jacques-Louis DavidNapoleon Crossing the St. BernardPass, 1801, oil, French
Painting is about the world that we live in. Black men live in the world. My choice is to include them. This is my way of saying yes to us. -Kehinde Wiley
http://www.youtube.com/watch?v=3jNKBOMOTPA
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Feminist Art
JUDY CHICAGO, The Dinner Party, 1979. Fig. 15-21.
CINDY SHERMAN, Untitled Film Still #35, 1979. Fig. 15-22.
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Ingres, Grande Odalisque, 1814, oilFig.12-3
“The Gaze” & Feminist Art
Picasso, Les Demoiselles d’Avignon, 1907, oil
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Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1981Photo/collage, fig.15-23
“The Gaze” & Feminist Art
• Trained as graphic designer
• Incorporates mass media techniques in order to subvert them
• Large scale• Image and text (black &
white)• Red frame• Questions assumptions
about beauty and femininity, objectification of women
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Site-specific Art
ROBERT SMITHSON, Spiral Jetty, 1970
Site-specific Art - Earthworks
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Site-specific Art - Earthworks• Concern for environment
(American SW)• Draw attention to land
(entropy) • Question role of
museums and galleries in art (resists art market)
• Shape and color determined by site = spiral salt molecules
• Not always visible• Envisioned as return to
primordial beginnings
ROBERT SMITHSON, Spiral Jetty, 1970. Fig. 15-38.
http://www.youtube.com/watch?v=vCfm95GyZt4
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Maya Lin, Vietnam Veterans Memorial, Washington, D.C.1981-83, fig.15-34
http://video.pbs.org/video/1237561998/
Architecture (Modernist)
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Maya Lin, Vietnam Veterans Memorial, Washington, D.C.1981-83, fig.15-34
Architecture (Modernist)• Result of juried competition held in 1981• Selected while Lin was an architecture student at Yale• Highly Controversial• Didn’t glorify the war; focus on individual cost of war• Selected minimalist (and modernist design) over classical forms • List of names of dead, chronologically from the center• Like a black, polished “cut” into the earth• One end points at Washington Monument, other at Lincoln Memorial
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RICHARD ROGERS and RENZO PIANO, Georges Pompidou National Center of
Art and Culture, 1977. Fig. 15-36.
Architecture (Postmodernist)
ALEXANDRE-GUSTAVE EIFFEL, Eiffel Tower, 1889. Fig. 13-19.
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Architecture (Postmodernist)
FRANK GEHRY, Guggenheim Bilbao Museo, 1997. Fig. 15-37.
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• Deconstructivism = deconstructing the nature of building
• Challenge expectation of materials and appearance
• Creative freedom & signature style
• Curvilinear vs. rectilinear forms
FRANK GEHRY, Guggenheim Bilbao Museo, 1997. Fig. 15-37.
Architecture (Postmodernist)
FRANCESCO BORROMINI, San Carlo alle Quattro Fontane, 1665–1676. Fig. 10-7.
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Performance & Conceptual Art
JOSEPH Beuys, How to Explain Pictures to a Dead Hare, 1965, fig. 15-41
JOSEPH KOSUTH, One and Three Chairs1965. Fig. 15-41.
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New Media
Bill Viola, The Crossing1996, video/sound
Fig. 15-43http://www.youtube.com/watch?v=fHqhaH6m9pY
• Video/sound installation• Companion videos (men
engulfed in water & flames)
• Reflects back on the viewer’s own body (sensations) immersed in a image-sound space
• Spiritual & religious meanings
• Uses elements (fire, water) as allegories of personal transformation
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JEFF KOONS, Pink Panther, 1988. Fig. 15-30.
Social and Political Art
MARCEL DUCHAMP, Fountain (second version), 1950 (original version produced 1917).
Fig. 14-13.
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• Postmodernism • Neo-Pop? Neo-Dada?
(Duchamp’s readymade)• Commodity culture• Cartoon character and
centerfold• Kitschy material (mass-
produced, cute, sentimental objects)
• In The Banality Show• Ironic commentary or
love of popular culture? JEFF KOONS, Pink Panther, 1988. Fig. 15-30.
Social and Political Art
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Social and Political Art
Chris Ofili, The Holy Virgin Mary, 1996,
mixed media
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Final Exam Review:Comparative Essay
• What are the individual characteristics of
each work in terms of style & subject?• How do they relate to the particular historic,
artistic and cultural contexts in which they were
made? • With what artistic movements are they
associated?• Why compare the two art works? What are their
similarities & differences?
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#1.
Picasso, Les Demoiselles d’Avignon, 1907, oil
WILLEM DE KOONING, Woman I, 1950–1952.
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#2
DONALD JUDD, Untitled, 1969. Fig. 15-10.
Maya Lin, Vietnam Veterans Memorial, Washington, D.C.1981-83, fig.15-34
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#3
JEFF KOONS, Pink Panther, 1988. Fig. 15-30.
ANDY WARHOL, Marilyn Diptych, 1962. Fig. 15-17.
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#4
JACKSON POLLOCK, Number 1,
1950 (Lavender
Mist), 1950
VASSILY KANDINSKY,
Improvisation 28 (second
version), 1912