This covers a partial selection of American Art and Visual Culture of the 1960s... possibly to be continued next week.

1. A visit to America Creative Rupture The 1960s Introduction to American Art and Visual Culture – Lecture 6

2. Franz Kline (1950) Chief

3. Mark Rothko (1958) Black on Maroon Sketch for “Mural no. 6”

5. 1960s The nation was in accelerated cultural, social, and political transition. Painting moved from the deeply personal (last week) to the impersonal Issues of “High versus Low” were raised. Multiple voices clamored for equalities and freedoms: women, blacks, etc.

6. Artists: Ad Reinhardt Ellsworth Kelly Morris Louis Cy Twombly Agnes Martin Robert Rauschenberg Claes Oldenberg Andy Warhol

7. Non Compositional Strategies

8. Ad Reinhardt ” Art is Art. Everything else is everything else”

9. Ad Reinhardt (1961) Abstract Painting no 4

10. Ad Reinhardt (1966) Untitled Screen print

11. Ad Reinhardt (1954-58) Untitled

12. Ad Reinhardt hangs his paintings to dry 1966

13. Ad Reinhardt – works from the 1940s

14. Ellsworth Kelly Take a look at MoMA’s Mp3 description of the artist’s work:http://www.moma.org/audio_file/audio_file/794/ColorChart_601.mp3

16. Ellsworth Kelly

17. http://www.swiss-miss.com/2007/09/ellsworth-kelly.html

18. Elsworth Kelly (1963 ) Red Blue Green

19. Elsworth Kelly (no date ) Orange Curve

20. Elsworth Kelly (1970) Black Square with Blue

21. Elsworth Kelly (1958) Broadway

22. Elsworth Kelly (1952) Méditerannée

23. Elsworth Kelly (1976-77) Nine Squares

24. Stains and Graffiti Legacy of Color and Gesture Forefathers

25. Helen Frankenthaler “ There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.”

26. Helen Helen Frankenthaler (1952 ) Mountains and Sea HER FIRST DRIP PAINTING

27. Helen Helen Frankenthaler (1967 ) Flood

28. Helen Helen Frankenthaler (1973 ) Nature Abhors a Vacuum

29. Helen Helen Frankenthaler (1964 ) Magic Carpet

30. Morris Louis “ He owes his reputation to the critic Clement Greenberg, who was also his coach. It is not really true, as has often been said, that Greenberg told Louis what to paint, though he probably had more influence over this lonely, gifted and insecure man than any American critic has had over any other artist.” - Critic Robert Hughes Read more: http://www.time.com/time/magazine/article/0,9171,962782,00.html#ixzz0YwAjOkQF

31. Morris Louis (1960) Where

32. Morris Louis (1961) Alpha Phi

33. Morris Louis (1958) 7 Bronze

34. Morris Louis (1959) Nun

35. Morris Louis (1959) Saf Dalet

36. Cy Twombly On graffiti-- ”Graffiti is linear and it's done with a pencil, and it's like writing on walls. But [in my paintings] it's more lyrical. In those beautiful early paintings like Academy, it's graffiti but it's something else, too. I don't know how people ­react, but the feeling is more complicated, more elaborate. Graffiti is usually a protest - ink on walls - or has a reason for ­being naughty or aggressive.” Read a rare interview of this artist: http://www.guardian.co.uk/artanddesign/2008/jun/03/art1

37. Cy Twombly at Houston Exhibition see Gagosian: http://www.gagosian.com

38. Cy Twombly (1970) Unitled

39. Cy Twombly (1972 ) Untitled

41. Cy Twombly (1961) Ferrogosto V

43. Cy Twombly (1980) Coronation of Sesostris

45. Cy Twombly (2007 ) Untitled

46. 'I'm not too sensitive to color, not really' Cy Twombly (1988 ) Untitled Part VII

47. Cy Twombly (2008 )The Rose II

48. Cy Twombly (2009 ) Leaving Pathos Ringed with Waves

49. Cy Twombly at Black Mountain College, North Carolina in the 50s. 'It was the first time I'd been in an atmosphere of artsy-ness'

50. Agnes Martin “ Art is the concrete representation of our most subtle feelings.” Eight minute Interview of this artist: http://www.youtube.com/watch?v=_-JfYjmo5OA

51. Agnes Martin

52. Agnes Martin (1960) Mountain

53. Agnes Martin (1962) Tremolo

54. Agnes Martin (1963) Friendship

55. Agnes Martin (1952) Untitled Watercolor

57. Creedence Clearwater Revival (1967 ) I Heard it Through the Grapevine TAKE A BREAK, MAN.

58. http://www.youtube.com/watch?v=mJS8j9YYB9w

61. http://www.youtube.com/watch?v=9kGYTQeUGB4

62. http://www.youtube.com/watch?v= R2bLNkCqpuY 2.8 million viewers

64. http://www.youtube.com/watch?v=-7JVxE2SYxo

65. Pop Art

66. Andy Warhol “ They say that time changes things, but you actually have to change them yourself”

67. Factory personalities: http://www.youtube.com/watch?v=qkwD261MHsc&feature=rec-LGOUT-exp_stronger_r2-2r-7-HM

68. This pair of photo-booth strips is one of Warhol's earliest experiments with photography , a medium that increasingly dominated his art during his peak years of innovation from 1962 to 1968. For Warhol, the photo booth represented a quintessentially modern intersection of mass entertainment and private self-contemplation. In these little curtained theaters, the sitter could adopt a succession of different roles, each captured in a single frame; the resulting strip of four poses resembled a snippet of film footage. The serial, mechanical nature of the strips provided Warhol with an ideal model for his aesthetic of passivity, detachment, and instant celebrity. Here, Warhol has adopted the surly, ultracool persona of movie stars such as Marlon Brando and James Dean, icons of the youth culture that he idolized.

69. Andy Warhol (1967) Untitled from Marilyn Monroe (Marilyn)

70. As art historian Marco Livingstone has stressed, Pop Art was never a circumscribed movement with membership and manifestos. Rather, it was a sensibility emergent in the 1950s and rampant in the 1960s. Andy Warhol (who began his career as a fashion illustrator) had been painting Campbell Soup cans since 1962. Such advertising icons, along with cartoons and billboards, yielded a synthesis of word and image, of art and the everyday. Fashion quickly embraced the spirit of Pop, playing an important role in its dissemination. The paper dresses of 1966–67 were throwaways, open to advertising and the commercial.

71. http://www.youtube.com/watch?v=_cT10g9U9cU&feature=related

72. Rauschenberg: At the same time that Abstract Expressionism began to wane…a disparate group of artists began to explore some of the overlooked implications of action painting—its gestural freedom, chance effects, and urban themes—giving birth to a wide array of strategies epitomized by Robert Rauschenberg's oft-quoted statement that he wanted to act in the gap between art and life. Rauschenberg himself had been making Combines—found objects covered with slashing strokes of paint that blurred the boundaries between high and low—since the mid-1950s, and in the early '60s began transferring photographic images from newspapers directly onto his canvases (via the process of silkscreening) in rebus-like arrangements. In this neo-avant-garde work, artists such as Rauschenberg adapted the shock tactics of World War I-era Dada collagists such as Kurt Schwitters to the new postwar context of American hegemonic power.

73. http://www.youtube.com/watch?v=tpCWh3IFtDQ

74. Robert Rauschenberg (1955) Bed

75. Robert Rauschenberg (1964) Prize

76. Robert Rauschenberg (1962) Brace

77. Robert Rauschenberg (1959) Canyon

78. Robert Rauschenberg (1963) Estate

79. Robert Rauschenberg (1964) Harbor

80. Robert Rauschenberg (1955-59) Monogram

81. Robert Rauschenberg (1964) Retroactive

82. Robert Rauschenberg (1963) Tracer

83. Robert Rauschenberg (1958) Caca-Cola Plan

84. Rachel Harrison

85. Claes Oldenburg: Best known for his oversized soft sculptures of food and consumer objects of the Pop art period, Claes Oldenburg began his career staging avant-garde performances, constructing environments, publishing writings, and generally embracing the commerce of everyday life. Printed work has always played a central role in his art, beginning with commercially produced announcements and ephemera for his Happenings, and continuing with traditional printmaking.

86. Oldenburg (1961) Store Poster

88. Pop art's gaze on the universe of commercial products is often deadpan and cool. With Oldenburg, though, it becomes more comically disorienting: sculptures like Giant Soft Fan challenge our acceptance of the everyday world both by rendering hard objects in soft materials, so that they sag and droop, and by greatly inflating their size. (There are also Oldenburg works that make soft objects hard.) The smooth, impersonal vinyl surfaces of Giant Soft Fan are Oldenburg's knowing inversion of the hard-edge aesthetic of the 1960s.

89. Yoko Ono “ The 1960s were about releasing ourselves from conventional society and freeing ourselves.”

90. Yoko Ono in the Venice Biennale, 2009. Work from the 1960s

102. Next Week? Roy Lichtenstein James Rosenquist Jim Dine Larry Rivers Wayne Triebaud Tom Wesselmann Lucas Samaras James Rosenquist George Segal Ed Ruscha Carolee Schneeman Kenneth Noland Robert Morris And more….