A lecture designed to introduce the basic principles of Modernism and its fragmentation in the 1960s. Its basic emphasis is upon the plurarity of forms of art spawned from reactionary and critical break with Greenberg's notion of 'pure', autonomous disciplines.
(If you want to read my notes, download this presentation).
Minimalism emerged in the 1960s as both an extension of and reaction against modernist art. It embraced industrial materials and serial production techniques, rejecting a focus on individual craft. Minimalist works displayed no signs of the artist's touch, instead prioritizing the viewer's experience of the physical object in space over visual expression. While some saw it as replicating an alienating capitalist aesthetic, minimalism shifted the role of the viewer in important ways. Conceptual art further developed these ideas by emphasizing ideas and language over finished objects, challenging notions of what constitutes a work of art. Both movements reflected broader social and political critiques of the postwar era.
Conceptual art emerged in the 1960s as an art movement focused on conveying ideas rather than creating traditional art objects. It was influenced by Marcel Duchamp's "readymades" and intended to challenge notions of what art could be. Key aspects of conceptual art include prioritizing concepts over physical works and questioning relationships between art, artists, and audiences. Pioneering conceptual artists included Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and members of the influential Art & Language group.
This document provides an introduction to conceptual art and how it challenged traditional definitions of art. Conceptual artists asserted that the idea or concept behind a work was more important than its visual form. Key figures discussed include Duchamp, Rauschenberg, Kosuth, and LeWitt. Their works emphasized ideas and language over traditional art objects. This movement coincided with a desire to question the relationship between art and politics. Overall, conceptual art marked a shift where an idea itself could be considered a work of art rather than needing a physical art object.
Conceptual art emerged in the mid-1960s and early 1970s as a reaction against formalism. It emphasizes ideas and concepts over the creation of traditional art objects. Conceptual artists use images, objects, and text to convey ideas and get viewers to think about the meaning and definition of art. Key figures like Joseph Kosuth, Damien Hirst, and Tracy Emin created conceptual works that pushed boundaries and provoked questions about the nature of art.
This document provides an overview of the Minimalist art movement, including its key characteristics, social context, and notable artists such as Donald Judd, Robert Morris, Carl Andre, Sol Lewitt, and Dan Flavin. Minimalist art featured geometric forms made from industrial materials and lacked color, with the goal of having the artwork and viewer be part of the same experience. It emerged in the 1960s as a reaction to Abstract Expressionism and was influenced by mass production and media at the time.
Minimalism arose in the 1960s as a reaction against Abstract Expressionism. It is characterized by simple geometric forms, industrial materials, repetition, and an emphasis on the basic elements of art. Key artists of the movement included Frank Stella, Donald Judd, Sol LeWitt, and Dan Flavin. They created reductive sculptures and installations using materials like steel, Plexiglas, and fluorescent lights to draw attention to form and the viewer's experience. Though criticized as too simplistic, Minimalism had a significant influence on later movements like Post-Minimalism and remains influential today in design and architecture.
Art As Idea, The Roots Of Conceptual ArtJames Clegg
This document provides an introduction to conceptual art and its roots in earlier avant-garde movements like Dada, Situationism, and Happenings. It discusses how artists like Yves Klein, Piero Manzoni, and Robert Rauschenberg began treating ideas as works of art. Key figures in conceptual art included Sol LeWitt, On Kawara, Joseph Kosuth, and groups like Art & Language who took ideas and language as their primary artistic medium. The document traces the philosophical influences on conceptual art from thinkers like Henri Lefebvre and situates major conceptual works in historical context.
Minimalist art from 1960-1975 aimed for simplicity in both form and content by removing personal expression and distractions from theme. Key artists of the movement included Adam Barscewski, Carl Andre known for his piece Aluminum Lock from 1968 measuring 5ftx18ft, Dan Flavin and his work Icon V (Coran's Broadway Flesh) measuring 1.5ftx1.5ft, Sol Lewitt and his Structure from 1973 measuring 6.5ftx24ft, Donald Judd and his piece Tôle galvanisé from 1971 measuring 1.5ftx1.5fx1in, and Piet Mondriaan and his Composition avec Rouge, Bleu et Jaune
Minimalism emerged in the 1960s as both an extension of and reaction against modernist art. It embraced industrial materials and serial production techniques, rejecting a focus on individual craft. Minimalist works displayed no signs of the artist's touch, instead prioritizing the viewer's experience of the physical object in space over visual expression. While some saw it as replicating an alienating capitalist aesthetic, minimalism shifted the role of the viewer in important ways. Conceptual art further developed these ideas by emphasizing ideas and language over finished objects, challenging notions of what constitutes a work of art. Both movements reflected broader social and political critiques of the postwar era.
Conceptual art emerged in the 1960s as an art movement focused on conveying ideas rather than creating traditional art objects. It was influenced by Marcel Duchamp's "readymades" and intended to challenge notions of what art could be. Key aspects of conceptual art include prioritizing concepts over physical works and questioning relationships between art, artists, and audiences. Pioneering conceptual artists included Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and members of the influential Art & Language group.
This document provides an introduction to conceptual art and how it challenged traditional definitions of art. Conceptual artists asserted that the idea or concept behind a work was more important than its visual form. Key figures discussed include Duchamp, Rauschenberg, Kosuth, and LeWitt. Their works emphasized ideas and language over traditional art objects. This movement coincided with a desire to question the relationship between art and politics. Overall, conceptual art marked a shift where an idea itself could be considered a work of art rather than needing a physical art object.
Conceptual art emerged in the mid-1960s and early 1970s as a reaction against formalism. It emphasizes ideas and concepts over the creation of traditional art objects. Conceptual artists use images, objects, and text to convey ideas and get viewers to think about the meaning and definition of art. Key figures like Joseph Kosuth, Damien Hirst, and Tracy Emin created conceptual works that pushed boundaries and provoked questions about the nature of art.
This document provides an overview of the Minimalist art movement, including its key characteristics, social context, and notable artists such as Donald Judd, Robert Morris, Carl Andre, Sol Lewitt, and Dan Flavin. Minimalist art featured geometric forms made from industrial materials and lacked color, with the goal of having the artwork and viewer be part of the same experience. It emerged in the 1960s as a reaction to Abstract Expressionism and was influenced by mass production and media at the time.
Minimalism arose in the 1960s as a reaction against Abstract Expressionism. It is characterized by simple geometric forms, industrial materials, repetition, and an emphasis on the basic elements of art. Key artists of the movement included Frank Stella, Donald Judd, Sol LeWitt, and Dan Flavin. They created reductive sculptures and installations using materials like steel, Plexiglas, and fluorescent lights to draw attention to form and the viewer's experience. Though criticized as too simplistic, Minimalism had a significant influence on later movements like Post-Minimalism and remains influential today in design and architecture.
Art As Idea, The Roots Of Conceptual ArtJames Clegg
This document provides an introduction to conceptual art and its roots in earlier avant-garde movements like Dada, Situationism, and Happenings. It discusses how artists like Yves Klein, Piero Manzoni, and Robert Rauschenberg began treating ideas as works of art. Key figures in conceptual art included Sol LeWitt, On Kawara, Joseph Kosuth, and groups like Art & Language who took ideas and language as their primary artistic medium. The document traces the philosophical influences on conceptual art from thinkers like Henri Lefebvre and situates major conceptual works in historical context.
Minimalist art from 1960-1975 aimed for simplicity in both form and content by removing personal expression and distractions from theme. Key artists of the movement included Adam Barscewski, Carl Andre known for his piece Aluminum Lock from 1968 measuring 5ftx18ft, Dan Flavin and his work Icon V (Coran's Broadway Flesh) measuring 1.5ftx1.5ft, Sol Lewitt and his Structure from 1973 measuring 6.5ftx24ft, Donald Judd and his piece Tôle galvanisé from 1971 measuring 1.5ftx1.5fx1in, and Piet Mondriaan and his Composition avec Rouge, Bleu et Jaune
Postmodernism began as a reaction against modernism in art in the 20th century. It questioned master narratives and ideas of single meanings, instead seeing the viewer as helping determine a work's meaning. It included styles like conceptual art, minimalism, video art, performance art, and installation art. Key artists mentioned include Justin Michael Jenkins, Max Book, and Aydin Aghdashloo. Important works discussed are Roy Lichtenstein's Whaam!, Damien Hirst's Away from the Flock, and Jeff Koons' New Hoover Convertibles. Postmodernism has had influence beyond art and tried to replace ideas of the future with an eternal present.
Conceptual art emerged as a major art movement in the 1960s and 1970s based on the idea that art can exist solely as a concept rather than a physical object. Some key figures in conceptual art include Joseph Kosuth, Yves Klein, Piero Manzoni, and Richard Long. Conceptual art was influenced by earlier artists like Marcel Duchamp who created pieces that questioned what art is.
Conceptual art emerged in the 1960s-1970s as a reaction against commercialized art. It prioritized ideas over traditional art objects, using images and objects to convey concepts. Influenced by Duchamp's readymades, it questioned what art is. There was no set style, and works took many forms including installations, performances, and land art. Key ideas included art being conceptual rather than material, reducing objects to minimalism, and requiring viewer participation to complete works. Prominent conceptual artists profiled include Damien Hirst, known for installations using medical and domestic items to explore death, and Tracy Emin who used autobiographical works addressing sexuality and relationships.
Social Realism was an art movement from 1929 to the late 1950s that depicted realistic representations of the working class and poor during times of economic hardship like the Great Depression. Artists aimed to bring awareness to social issues through paintings, photographs and other media showing the lives and conditions of everyday people. Some notable artists included Grant Wood, Edward Hopper, Diego Rivera, and Charles White. The movement influenced later generations of artists and continued addressing themes of social and political issues.
The document discusses several contemporary artists and their works that address current social and political issues. Tim Noble and Sue Webster create sculptures out of trash that address themes of consumerism. Chris Goodwin uses found trash to tell stories and comment on waste. Takashi Murakami blends pop and commercial art. Jeff Koons' work examines consumer culture. Duane Hanson created extremely realistic sculptures that held a mirror to society. Judy Chicago's The Dinner Party brought attention to women's history and roles. Kara Walker uses silhouettes to depict slavery in a thought-provoking way. Kako Ueda uses paper to represent the natural and cultural influences on human and other organisms. Jenny Holzer is known for her "truisms
Pop Art emerged in the mid-1950s in Britain and late 1950s in the United States. It drew upon popular art images from newspapers and TV and embraced aspects of Abstract Expressionism while focusing on realistic subject matter. Key figures included Richard Hamilton, the creator of an early Pop Art collage; Jasper Johns, known for paintings of the American flag; and Eduardo Paolozzi, a precursor to Pop Art known for using juxtaposition. Other seminal Pop Artists were Claes Oldenburg, Andy Warhol, Roy Lichtenstein, and Bridget Riley, a pioneer of Optical Art.
Abstract Expressionism was a post-World War II art movement developed by American painters in New York in the 1940s-1950s. It emphasized spontaneous, emotional expression and the unconscious through gestural brushstrokes and pouring paint onto large canvases. Leading artists included Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman. Their works, such as Pollock's No. 5, 1948 and de Kooning's Woman II, had a significant impact and established New York as the new center of modern art. Filipino artists like Jose Joya and Frederick Agustin also participated in the abstract expressionist movement.
Minimalism emerged in the 1960s as a reaction to Abstract Expressionism. Minimalist artists aimed to eliminate emotion, allusion, and meaning from their work by creating simple geometric objects and structures. Key minimalist artists included Frank Stella, Donald Judd, Carl Andre, Sol LeWitt, Robert Morris, and Dan Flavin. Their work used basic forms and industrial materials to focus attention on the objects themselves rather than on symbolism or expression.
Minimalism began in 1960s New York and was influenced by traditional Japanese design and a reaction to abstract expressionism. It is defined by simplicity, no meaning, unity, realism, and geometric shapes/patterns. Frank Stella, Donald Judd, and Sol Lewitt were influential minimalist artists known for using industrial materials and repetitive geometric forms to focus on shape, line, color, and texture. Their work included paintings, sculptures, boxes, and wall drawings made of materials like wood and metal. Minimalism also influenced music, architecture, design, and lifestyles that emphasized simplicity and owning only necessary possessions. The movement was controversial as it challenged definitions of art.
The document discusses the history and key figures of the minimalist art and music movements from the 1960s onward. It began as a rejection of abstract expressionism in New York art galleries and spread to other mediums like architecture, design, fashion and music. Key musical figures mentioned are La Monte Young, Terry Riley, Steve Reich, Philip Glass and John Adams, who helped pioneer the minimalist style of repetitive, trance-like compositions focusing on patterns with little variation. The movement aimed to portray extreme simplicity and literal meaning.
Minimalism refers to a style of art from the 1950s to 1970s characterized by simplicity in form and content. Minimalist artists like Frank Stella, Carl Andre, Dan Flavin, Ellsworth Kelly, and Donald Judd reacted against Abstract Expressionism by creating stark canvases and sculptures with removed personal expression, aiming for objects of interest and beauty. Examples of works mentioned include Stella's Sunset Beach, Andre's Steel Aluminum Plain, Flavin's Untitled, Kelly's Grape Leaves III, and Judd's Untitled.
A list of all famous minimalist artists, architects and designerscharpentieredme
The document provides a comprehensive list of famous minimalist artists, architects, designers, and photographers from the 1960s to present day. It includes over 50 minimalist artists such as Carl Andre, Donald Judd, Sol LeWitt, as well as architects like Tadao Ando, Alberto Campo Baeza, and Peter Zumthor. The list also names influential minimalist designers like Naoto Fukasawa, Jonathan Ive, and Tokujin Yoshioka, as well as photographers Andreas Gursky, Michael Kenna, and Hiroshi Sugimoto. The document aims to serve as a quick reference for those interested in minimalism or looking to hire a minimalist professional.
The document discusses several contemporary artists from 1990-2000 including Felix Gonzalez-Torres, Mark Dion, Rachel Whiteread, and William Kentridge. It provides background information on their works, artistic strategies and themes relating to identity politics, institutional critique, the abject body, drawing and erasure techniques. Specific works mentioned include Gonzalez-Torres's candies installations, Dion's mixed media pieces, Whiteread's concrete casting of a house, and Kentridge's animated charcoal drawings.
From Object to concept: environment, performance, and installation artDeborahJ
This document provides an overview of postmodern art movements that emerged in response to modernism, including minimalism, conceptual art, performance art, body art, earthworks, and installation art. It discusses how these genres emphasized ideas over visual forms, incorporated elements of theatre and audience participation, and challenged definitions of art. Key artists mentioned include Robert Morris, Joseph Kosuth, Vito Acconci, Chris Burden, Richard Serra, Michael Heizer, Robert Smithson, and Bruce Nauman. It also summarizes Michael Fried's criticism of minimalism and Rosalind Krauss' theory of sculpture's "expanded field."
Precisionism was the first indigenous modern art movement in the United States from the 1920s to early 1930s that focused on themes of industrialization and the modernization of the American landscape through a precise, geometric style exemplified by artists like Charles Sheeler, Charles Demuth, Stuart Davis, Francis Criss, and Morton Schamberg such as in Sheeler's 1922 painting "Skyscraper".
This document provides an overview of Abstract Expressionism, a major American art movement that developed in New York City during the 1940s and 1950s. It notes that many European artists immigrated to New York during World War 2, influencing the development of innovative artworks through cross-pollination of ideas. Key Abstract Expressionist artists mentioned include Pollock, de Kooning, Rothko, and Kline. The movement is described as the first truly American school of art that was internationally influential until the rise of Pop Art in the 1960s.
Abstract Expressionism emerged in New York City in the 1940s as artists rapidly applied paint to large canvases in an expressive style, drawing from Surrealist ideas of tapping the unconscious mind. There were two main types: action painting, which emphasized the artist's hand movements and texture, and color field painting, which used broad areas of color. Famous artists like Jackson Pollock, Willem de Kooning, Arshile Gorky, Mark Rothko, and Clyfford Still developed techniques like dripping and splattering paint to create emotional, non-representational works focused on the creative process over any subject matter.
Minimalism focuses on reducing design to only necessary elements through simple geometric forms and eradication of authorship from artworks. During the 1960s, key artists like Donald Judd, Frank Stella, and Carl Andre created minimalist works that emphasized surface descriptions over metaphorical meanings. Their simplified styles reacted against abstract expressionism and influenced modern artists.
Main topics of slides are:
-What is postmodernism?
-What is the difference between "modern" and "contemporary"?
-When does contemporary history begin?
-God's place in the history of 20th century
-Main theological ideas after the II World War
-The death of God theology
-Postmodern theology as the multiplex phenomena
Patti Smith was a central figure in the 1970s New York pre-punk scene who was influenced by musicians like Jimi Hendrix and poets. She originally wanted to be a poet but pursued a musical direction, applying poetry through her haunting songs. Smith covered songs from various genres unexpectedly and was known for her masculine appearance and manly singing tones that challenged gender stereotypes of the time.
Postmodernism began as a reaction against modernism in art in the 20th century. It questioned master narratives and ideas of single meanings, instead seeing the viewer as helping determine a work's meaning. It included styles like conceptual art, minimalism, video art, performance art, and installation art. Key artists mentioned include Justin Michael Jenkins, Max Book, and Aydin Aghdashloo. Important works discussed are Roy Lichtenstein's Whaam!, Damien Hirst's Away from the Flock, and Jeff Koons' New Hoover Convertibles. Postmodernism has had influence beyond art and tried to replace ideas of the future with an eternal present.
Conceptual art emerged as a major art movement in the 1960s and 1970s based on the idea that art can exist solely as a concept rather than a physical object. Some key figures in conceptual art include Joseph Kosuth, Yves Klein, Piero Manzoni, and Richard Long. Conceptual art was influenced by earlier artists like Marcel Duchamp who created pieces that questioned what art is.
Conceptual art emerged in the 1960s-1970s as a reaction against commercialized art. It prioritized ideas over traditional art objects, using images and objects to convey concepts. Influenced by Duchamp's readymades, it questioned what art is. There was no set style, and works took many forms including installations, performances, and land art. Key ideas included art being conceptual rather than material, reducing objects to minimalism, and requiring viewer participation to complete works. Prominent conceptual artists profiled include Damien Hirst, known for installations using medical and domestic items to explore death, and Tracy Emin who used autobiographical works addressing sexuality and relationships.
Social Realism was an art movement from 1929 to the late 1950s that depicted realistic representations of the working class and poor during times of economic hardship like the Great Depression. Artists aimed to bring awareness to social issues through paintings, photographs and other media showing the lives and conditions of everyday people. Some notable artists included Grant Wood, Edward Hopper, Diego Rivera, and Charles White. The movement influenced later generations of artists and continued addressing themes of social and political issues.
The document discusses several contemporary artists and their works that address current social and political issues. Tim Noble and Sue Webster create sculptures out of trash that address themes of consumerism. Chris Goodwin uses found trash to tell stories and comment on waste. Takashi Murakami blends pop and commercial art. Jeff Koons' work examines consumer culture. Duane Hanson created extremely realistic sculptures that held a mirror to society. Judy Chicago's The Dinner Party brought attention to women's history and roles. Kara Walker uses silhouettes to depict slavery in a thought-provoking way. Kako Ueda uses paper to represent the natural and cultural influences on human and other organisms. Jenny Holzer is known for her "truisms
Pop Art emerged in the mid-1950s in Britain and late 1950s in the United States. It drew upon popular art images from newspapers and TV and embraced aspects of Abstract Expressionism while focusing on realistic subject matter. Key figures included Richard Hamilton, the creator of an early Pop Art collage; Jasper Johns, known for paintings of the American flag; and Eduardo Paolozzi, a precursor to Pop Art known for using juxtaposition. Other seminal Pop Artists were Claes Oldenburg, Andy Warhol, Roy Lichtenstein, and Bridget Riley, a pioneer of Optical Art.
Abstract Expressionism was a post-World War II art movement developed by American painters in New York in the 1940s-1950s. It emphasized spontaneous, emotional expression and the unconscious through gestural brushstrokes and pouring paint onto large canvases. Leading artists included Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman. Their works, such as Pollock's No. 5, 1948 and de Kooning's Woman II, had a significant impact and established New York as the new center of modern art. Filipino artists like Jose Joya and Frederick Agustin also participated in the abstract expressionist movement.
Minimalism emerged in the 1960s as a reaction to Abstract Expressionism. Minimalist artists aimed to eliminate emotion, allusion, and meaning from their work by creating simple geometric objects and structures. Key minimalist artists included Frank Stella, Donald Judd, Carl Andre, Sol LeWitt, Robert Morris, and Dan Flavin. Their work used basic forms and industrial materials to focus attention on the objects themselves rather than on symbolism or expression.
Minimalism began in 1960s New York and was influenced by traditional Japanese design and a reaction to abstract expressionism. It is defined by simplicity, no meaning, unity, realism, and geometric shapes/patterns. Frank Stella, Donald Judd, and Sol Lewitt were influential minimalist artists known for using industrial materials and repetitive geometric forms to focus on shape, line, color, and texture. Their work included paintings, sculptures, boxes, and wall drawings made of materials like wood and metal. Minimalism also influenced music, architecture, design, and lifestyles that emphasized simplicity and owning only necessary possessions. The movement was controversial as it challenged definitions of art.
The document discusses the history and key figures of the minimalist art and music movements from the 1960s onward. It began as a rejection of abstract expressionism in New York art galleries and spread to other mediums like architecture, design, fashion and music. Key musical figures mentioned are La Monte Young, Terry Riley, Steve Reich, Philip Glass and John Adams, who helped pioneer the minimalist style of repetitive, trance-like compositions focusing on patterns with little variation. The movement aimed to portray extreme simplicity and literal meaning.
Minimalism refers to a style of art from the 1950s to 1970s characterized by simplicity in form and content. Minimalist artists like Frank Stella, Carl Andre, Dan Flavin, Ellsworth Kelly, and Donald Judd reacted against Abstract Expressionism by creating stark canvases and sculptures with removed personal expression, aiming for objects of interest and beauty. Examples of works mentioned include Stella's Sunset Beach, Andre's Steel Aluminum Plain, Flavin's Untitled, Kelly's Grape Leaves III, and Judd's Untitled.
A list of all famous minimalist artists, architects and designerscharpentieredme
The document provides a comprehensive list of famous minimalist artists, architects, designers, and photographers from the 1960s to present day. It includes over 50 minimalist artists such as Carl Andre, Donald Judd, Sol LeWitt, as well as architects like Tadao Ando, Alberto Campo Baeza, and Peter Zumthor. The list also names influential minimalist designers like Naoto Fukasawa, Jonathan Ive, and Tokujin Yoshioka, as well as photographers Andreas Gursky, Michael Kenna, and Hiroshi Sugimoto. The document aims to serve as a quick reference for those interested in minimalism or looking to hire a minimalist professional.
The document discusses several contemporary artists from 1990-2000 including Felix Gonzalez-Torres, Mark Dion, Rachel Whiteread, and William Kentridge. It provides background information on their works, artistic strategies and themes relating to identity politics, institutional critique, the abject body, drawing and erasure techniques. Specific works mentioned include Gonzalez-Torres's candies installations, Dion's mixed media pieces, Whiteread's concrete casting of a house, and Kentridge's animated charcoal drawings.
From Object to concept: environment, performance, and installation artDeborahJ
This document provides an overview of postmodern art movements that emerged in response to modernism, including minimalism, conceptual art, performance art, body art, earthworks, and installation art. It discusses how these genres emphasized ideas over visual forms, incorporated elements of theatre and audience participation, and challenged definitions of art. Key artists mentioned include Robert Morris, Joseph Kosuth, Vito Acconci, Chris Burden, Richard Serra, Michael Heizer, Robert Smithson, and Bruce Nauman. It also summarizes Michael Fried's criticism of minimalism and Rosalind Krauss' theory of sculpture's "expanded field."
Precisionism was the first indigenous modern art movement in the United States from the 1920s to early 1930s that focused on themes of industrialization and the modernization of the American landscape through a precise, geometric style exemplified by artists like Charles Sheeler, Charles Demuth, Stuart Davis, Francis Criss, and Morton Schamberg such as in Sheeler's 1922 painting "Skyscraper".
This document provides an overview of Abstract Expressionism, a major American art movement that developed in New York City during the 1940s and 1950s. It notes that many European artists immigrated to New York during World War 2, influencing the development of innovative artworks through cross-pollination of ideas. Key Abstract Expressionist artists mentioned include Pollock, de Kooning, Rothko, and Kline. The movement is described as the first truly American school of art that was internationally influential until the rise of Pop Art in the 1960s.
Abstract Expressionism emerged in New York City in the 1940s as artists rapidly applied paint to large canvases in an expressive style, drawing from Surrealist ideas of tapping the unconscious mind. There were two main types: action painting, which emphasized the artist's hand movements and texture, and color field painting, which used broad areas of color. Famous artists like Jackson Pollock, Willem de Kooning, Arshile Gorky, Mark Rothko, and Clyfford Still developed techniques like dripping and splattering paint to create emotional, non-representational works focused on the creative process over any subject matter.
Minimalism focuses on reducing design to only necessary elements through simple geometric forms and eradication of authorship from artworks. During the 1960s, key artists like Donald Judd, Frank Stella, and Carl Andre created minimalist works that emphasized surface descriptions over metaphorical meanings. Their simplified styles reacted against abstract expressionism and influenced modern artists.
Main topics of slides are:
-What is postmodernism?
-What is the difference between "modern" and "contemporary"?
-When does contemporary history begin?
-God's place in the history of 20th century
-Main theological ideas after the II World War
-The death of God theology
-Postmodern theology as the multiplex phenomena
Patti Smith was a central figure in the 1970s New York pre-punk scene who was influenced by musicians like Jimi Hendrix and poets. She originally wanted to be a poet but pursued a musical direction, applying poetry through her haunting songs. Smith covered songs from various genres unexpectedly and was known for her masculine appearance and manly singing tones that challenged gender stereotypes of the time.
The student created an original music magazine for teenage girls that drew inspiration from magazines like ELLE and Nylon but targeted a niche audience not served by other publications. She used typical design elements like a "photo booth" effect for photos but wrote articles in a unique diary format. While mostly using basic photo editing in Photoshop, she experimented with effects but decided a simpler look best fit the magazine's style. The magazine communicated a quirky teenage identity through fonts, colors, informal language, and photos of a girl posing with her camera. The student's social environment as a teenage girl herself informed accurate representation of what would appeal to her audience. Overall she based the magazine on successful formats but added her own creative ideas and
Modern art movements from 1900-2000 are summarized. Fauvism used bright colors and thick brushstrokes from 1898-1908. Primitivism took inspiration from non-Western cultures from 1893-1933. Expressionism used strong colors and abstraction to critique society from 1905-1920. Cubism analyzed and synthesized forms using collage and multiple perspectives from 1901-1914. Futurism celebrated modern technology and urban life from 1909-1940s. Dadaism and Surrealism rejected rationality and embraced the subconscious from the 1910s-1920s. Abstract Expressionism depicted universal emotions and the creative process from the 1940s onward. Major artists associated with these movements include Matisse, Picasso, Kandinsky
This document discusses postmodern theories of identity and discusses how postmodernism has led to more fragmented and uncertain senses of self. It provides context on postmodernism by defining some key aspects, including the shift to consumption-based economies and cultures, the rejection of absolute truths, and emphasis on ambiguity and uncertainty. It also discusses Richard Sennett's views on how postmodern capitalism and flexible institutions have led to more "supermarket" selves that are constantly redefining and made of fragments rather than coherent narratives.
The document discusses different conceptions of cultural identity and the subject. It outlines three main conceptions: [1] The Enlightenment subject, defined by reason and an inner core self; [2] The sociological subject, formed in relation to others between the personal and public; [3] The postmodern subject, which is not unified but assumes different identities in different contexts. It then discusses five "ruptures" or theoretical developments that contributed to the postmodern decentralized subject, including Marxism, psychoanalysis, feminism, structural linguistics, and Foucault's writings on power and discourse.
In this lecture I try to establish a context for our discussion of theories of identity that make us of ideas now thought of as 'postmodern'. In particular, the lecture will set the scene for our reading of Stuart Hall's chapter 'Questions of Cultural Identity'.
Ecocriticism examines the relationship between humanity and nature in literary works. It emerged in the late 1970s amid growing environmental concerns. Ecocriticism analyzes how texts represent or relate to the natural world and evaluates their positive or negative environmental messages. It takes an interdisciplinary approach, drawing on fields like sociology, ecology, and politics. Major figures established ecocriticism academically in the United States and United Kingdom in the late 1980s and early 1990s. Ecocriticism remains an important lens for addressing the global environmental crisis through literary analysis.
literary criticism - the -isms of 19th and 20th centuryliisamurphy
The document provides an overview of four literary movements: Modernism, Postmodernism, Postcolonialism, and Feminist Criticism. It discusses some key aspects of each movement, including:
Modernism challenged 19th century traditions and authority in the aftermath of World War I and new scientific discoveries. It used new narrative techniques like stream of consciousness and nonlinear chronologies.
Postmodernism questions meaning and truth, seeing them as relative. It emphasizes intertextuality and the interconnection of ideas.
Postcolonialism examines the impact of colonialism and problems of poverty and social status after independence.
Feminist criticism emerged in the 1980s through movements like Riot Grrrl and
The document discusses the evolution of postmodern architectural history and theory. It provides 11 key points about postmodernism according to Charles Jencks, including that it embraces pluralism, ambiguity, and uses irony to juxtapose opposites. Jencks also notes that postmodernism incorporates the modern, and represents a culture with a sense of departure but no clear direction. The document explores themes of postmodern architecture like historicism, eclecticism, and reconciling old and new generations.
"Lyotard and Postmodernism" Key Terms and IdeasMaricelaJJBB
1. The document discusses key terms and ideas related to postmodernism, including modernity, postmodernity, modernization, modernism, and postmodernism.
2. It outlines Jean-Francois Lyotard's views on the postmodern condition, including his ideas that knowledge is being impacted by technological transformations and will be a major factor in global power competitions.
3. Lyotard also analyzed the relationship between narrative knowledge and scientific knowledge, and criticized the growing "mercantilization" and performativity of knowledge in industrial societies.
Lyotard was a French philosopher known for his work on the "postmodern condition". He argued that grand narratives - overarching ideological explanations for how society works - were breaking down. Instead of one universal truth or story, we are moving towards many smaller "micro-narratives" as belief in grand narratives declines. Lyotard saw this as an increased awareness of diversity and difference between individuals.
The Post-Modernism era came after World War II and the end of the Modern era, though there is no definitive start or end date. Post-Modernism rejected the idea of absolute truth and objectivity that defined Modernism. Post-Modern art, architecture, painting, and photography emphasized diversity, hidden meanings, and rejecting norms rather than focusing on one objective perspective or meaning. Key aspects included questioning assumptions, emphasizing personal journeys over logic, and avoiding strict adherence to rules or traditions.
This document provides definitions and brief explanations of various philosophical concepts and "isms". It discusses philosophies related to absolutism, accidentalism, aestheticism, altruism, anarchism, animism, anthropomorphism, asceticism, atomism, automatism, behaviourism, capitalism, cognitivism, collectivism, communalism, communism, consequentialism, contextualism, conventionalism, and cynicism. The document is intended to introduce readers to different lenses and approaches in philosophy that could be useful for observing topics in one's research.
Futurism was an early 20th century avant-garde movement that originated in Italy. It celebrated speed, technology, youth, violence, and industrialization. Key Futurist artists included Umberto Boccioni, Giacomo Balla, and Carlo Carra. Their works often depicted dynamic scenes involving machinery and urban life using fractured forms and multiple perspectives to represent motion and energy.
This document discusses the architectural principle of "form follows function". It begins by quoting Louis Sullivan stating that this principle is a universal law that applies to both organic and inorganic things, as well as physical and metaphysical things. The form or expression of something is recognizable through its function.
It then provides examples of how form depends on function for different types of buildings and structures. The form of a movie theater or farmhouse, for instance, depends on its long-term function and intended use. Product design is also influenced by considering a product's entire lifecycle from conception to use and retirement.
Finally, it discusses how realizing an appropriate form for a building or structure involves a professional design team that considers the
Modernism was an artistic and cultural movement that started in the early 20th century in the United States, with its core period between World War I and World War II. Key aspects included a focus on form and structure in visual arts, with artists drawing influence from primitive styles and innovations. Modernism also challenged traditional beliefs and institutions. By the 1930s, modernist ideas had entered popular culture through advertising and visual symbols. Notable American modernist artists and architects mentioned in the document include Jackson Pollock, Georgia O'Keeffe, Frank Lloyd Wright, and Richard Neutra.
Satellite television, the internet, and colonialism helped drive the evolution of globalism. Several key figures and events influenced changes in racial equality, gender equality, and other social movements in the latter half of the 20th century, including Martin Luther King Jr., the women's movement, and the gay rights movement. Abstract Expressionism emerged as the dominant art movement in the 1940s-1960s in New York, pioneered by artists like Jackson Pollock, Willem de Kooning, and Franz Kline who experimented with action painting and color field techniques.
The document provides an overview of major artistic movements in Europe and America between 1900-1945. It discusses the evolution of modernism through Fauvism, German Expressionism, Cubism, Futurism, Dada and Surrealism in Europe. In America, it covers the impact of the 1913 Armory Show, various styles in the early 20th century, art of the Depression era depicting social issues, and Regionalism. Key artists and works from the period are also mentioned.
This document provides information on recent acquisitions by the Museum of Modern Art in New York. It includes the title, date, medium, dimensions and information about each artwork and its artist. Artists featured include Eugene Berman, Jose Bermudez, Gandy Brodie, James Brooks, Pierre Clerk, Stuart Davis, Max Ernst, Helen Frankenthaler, Fritz Glarner, Joseph Glasco, Roberto Gonzalez Goyri, Arshile Gorky, Paoul Hague, Hans Hofmann, Richard Hunt, Joan Junyer, Robert Kabak and Wolf Kahn.
ARH 151 Chapter 21 Guide The New York School • Abstr.docxrobert345678
ARH 151 Chapter 21 Guide
The New York School
• Abstract Expressionism emerged in New York in the mid-20th century.
• The art of the New York School emphasized:
- spontaneity.
- gestural brushstrokes.
- nonobjective imagery.
- fields of intense color.
• Some Abstract Expressionists, like Jackson Pollock, focused on gestural painting methods.
• Other Abstract Expressionists, like Mark Rothko, explored subtle interactions of color.
Jackson Pollock
• Gestural painting method
• “Action painting”
1 - Fig. 21.1 Jackson Pollock at work in his Long Island studio (1950).
2 - Fig. 21.2 Jackson Pollock, One (Number 31, 1950) (1950). Oil and enamel paint on canvas, 8’ 10” x 17’ 5 5/8”.
Joan Mitchell
• Second generation Abstract Expressionist
• Female artist whose gestural painting methods earned her recognition
3 - Fig. 21.5 Joan Mitchell, Cercando un Ago (1957). Oil on canvas, 94 1/8” x 87 5/8”.
4 - Joan Mitchell, Bonjour Julie (1971). Birmingham Museum of Art, Birmingham, AL.
Mark Rothko
• Chromatic painting
• “Floating squares of color”
5 - Fig. 21.6 Mark Rothko, Number 22 (1949). Oil on canvas, 117” x 107 1/8”.
6 - Fig. 21.7 Mark Rothko, Black on Grey (1970). Acrylic on canvas, 80 1/4” x 89”.
Post-Painterly Abstraction
• Color field painting & Amorphous shapes (Fig. 21.8)
• Hard-edge painting & shaped canvases (Fig. 21.14)
7 - Fig. 21.8 Helen Frankenthaler, The Bay (1963). Acrylic on canvas, 80 1/4” x 81 3/4”.
8 - Fig. 21.14 Frank Stella, Mas o Menos (More or Less) (1964). Metallic powder in acrylic emulsion on canvas, 118” x 164 1/2”.
Constructed Sculpture
9 - Fig. 21.9 David Smith, Cubi XVIII (1964). Stainless steel.
• Components of constructed sculpture may include materials such as rods, bars, tubes, planks,
dowels, blocks, fabric, wire, thread, glass, plastic, and machined geometric solids .
• David Smith burnished the surface of this constructed steel sculpture, leaving “gestural” marks
reminiscent of Pollock’s signature painting style.
Pop Art
10 - Fig. 21.17 Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956). Collage, 10 1/4”
x 9 3/4”.
• Pop Art relies on universal images of popular culture, such as movie posters, billboards,
magazine and newspaper photographs, and advertisements.
• Through their selections of commonplace and familiar objects, as seen in Richard Hamilton’s
collage, Pop artists challenged commonplace conceptions about the meaning of art.
Robert Rauschenberg
11 - Fig. 21.18 Robert Rauschenberg, The Bed (1955). Combine painting; oil and pencil on pillow, quilt, and sheet on wood
supports. 75 1/4” x 31 1/2” x 6 1/2”.
• Combine paintings blurred the boundaries between painting and sculpture
• Rauschenberg aimed “to bridge the gap between art and life” in his selection of materials and
subject matter
Jasper Johns
12 - Fig. 21.19 Jasper Joh.
Minimalism emerged as an art movement in the 1960s that aimed to dismantle illusionism and focus on the inherent properties of materials. Artists like Donald Judd, Carl Andre, and Dan Flavin created simple sculptures and structures using industrial materials. Around the same time, Conceptual art developed with works centered around ideas rather than aesthetic forms, inspired by Duchamp's readymades. Site-specific artworks of the period engaged with natural environments on a large scale, with works by Robert Smithson and Michael Asher sited outdoors.
1) Abstract Expressionism began in New York in the late 1940s but also had significant contributions from artists in Colorado and California.
2) Key Abstract Expressionist artists in New York included Jackson Pollock, Clyfford Still, Mark Rothko, Willem de Kooning, and others who developed styles using techniques like drip painting and vivid color fields.
3) Artists in Colorado and California also made important contributions to the movement, with groups in places like Colorado Springs, Denver, and San Francisco developing their own variations of Abstract Expressionist techniques and philosophies.
The document provides an overview of major art movements and styles from 1945 to the present. It discusses Abstract Expressionism, Pop Art, Minimalism, and Postmodern architecture as some of the prominent developments. It also examines feminist art and conceptual art forms like performance, earthworks, and new media that combined art with other disciplines or eliminated the physical object. The document seeks to familiarize readers with influential artists, key works, styles, and theories across this period of modern to contemporary Western and American art.
Two-Faced Fame Catalogue (writing sample on slide 20 and 45)Andrew Wei Aun Tan
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Week 3 - Minimalism and postminimalism lectureDrew Pettifer
This document provides an overview of Minimalism and Postminimalism in art. It discusses key aspects of Minimalist art, including reducing art to basic elements like color, shape and line; being non-representational and non-symbolic; and featuring repetition and endless configurations. Important Minimalist artists mentioned include Carl Andre, Dan Flavin, Donald Judd, Sol Le Witt, Agnes Martin, Robert Morris, and Anne Truitt. Postminimalism is described as reintroducing the artist's gesture and body into the creative process through repetitive forms emerging from making art, rather than as a pre-determined outcome. Key Postminimalist artists highlighted are Richard Serra, Eva Hesse, and Bruce Nauman.
Life without buildings: Institutions and ObjectionsDeborahJ
The document discusses the shift in art from Modernism to postmodernism in the 1960s-70s. Modernism valued disembodied aesthetics and formalism, while postmodernism emphasized the social and political context of artworks. Artists began creating works that were site-specific, used everyday materials, and critiqued institutions like museums. This changed the role of the artist and relationship between art objects and their environments.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
The document summarizes major developments in art since 1945, including the shift of the art capital from Europe to New York after WWII, the rise of Abstract Expressionism and its focus on emotional intensity and self-expression, Color Field painting, and the emergence of Minimalism and conceptual art in the 1960s which emphasized objects and ideas over illusionism. It also discusses the influence of pop art and artists like Andy Warhol who incorporated popular culture imagery and mass production techniques.
The document provides an overview of several key art movements from the 20th century including Abstract Expressionism, Pop Art, and Color Field Painting. Abstract Expressionism emerged in New York in the 1940s-1960s and emphasized spontaneity and emotion through techniques like action painting. Major artists included Pollock, de Kooning, Rothko, and Kline. Pop Art developed in the 1960s and reflected popular culture through images from advertisements, comics, and everyday objects. Andy Warhol was a prominent Pop artist known for silkscreen prints and repetition. Color Field Painting involved large areas of solid color intended for close viewing.
Chapter 15 globalism 20 and 21st centuryKaren Owens
Globalism evolved due to satellite television, the internet, and colonialism. Key figures that shaped globalism included Mohandas Gandhi, who led peaceful protests against colonial oppression in India, and Dr. Martin Luther King Jr., an American civil rights activist who was assassinated in 1968. Art movements also reflected global cultural changes, with Pop Art appropriating everyday commercial images and Abstract Expressionism exemplified by Jackson Pollock's dripped, splattered paintings.
The document discusses various styles and movements in postmodernist painting from the 1960s onward. It covers pop art, photorealism, bad painting, and how postmodernism emerged in opposition to modernist painting. Examples are given of seminal works from artists such as Andy Warhol, Roy Lichtenstein, Chuck Close, and Jean-Michel Basquiat that helped define these postmodernist movements and challenge definitions of what constitutes a painting.
Jackson Pollock was an American painter and a major figure in the abstract expressionist movement. He is known for his unique style of pouring and splattering paint onto large canvases laid out on the floor of his studio. Some of his most famous works include Autumn Rhythm: Number 30, 1950 and One: Number 31, 1950 which featured his signature drip technique. Pollock drew influence from Native American sandpainting and Surrealism and wanted to create work that was true to his own artistic vision rather than catering to critics. He revolutionized the way abstract art could be approached.
Postmodernism in art emerged in the 1970s as a reaction against modernism. It aimed to be more inclusive and accommodating of different styles, subjects, and formats. Key aspects of postmodern art include incorporating irony, revealing the artistic process, and blurring boundaries between high and low art.
Photography out of conceptual (pop & minimal, and performance) art pen lee
This document discusses the rise of photography as a central medium in contemporary art from the 1970s onward. It provides examples of conceptual, performance, appropriation, and documentary photography that moved the medium from the margins to the center of art. The examples show how photography was used to document ephemeral works, challenge notions of originality, engage with mass media and popular culture, and address social and political issues.
After World War II, art moved away from modernism and toward postmodernism. Postmodern art explored identity, politics, and the relationship between art and mass culture. Styles included abstract expressionism, minimalism, pop art, conceptual art, and earthworks. Artists like Pollock, Rothko, and Judd created abstract works that emphasized process, emotion, and the qualities of materials over recognizable subjects. Later artists engaged popular culture and examined the definition of art through new media.
An Iterative Story determined by readers votes.
Mugwhah is the story of a witch, but a story that twists and turns as reader's decide what happens next. Come and get involved.
If a modernist, a postmodernist and an altermodernist were set the same creative tasks at art college what would the results be? A play on Nicolas Bourriaud's concept, by James Clegg
'Bad' Painting and the work of Anton HenningJames Clegg
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The final part of the course takes social housing as a case study to develop an understanding of how modernism was thought to have failed. James Clegg
Part 2 by Deborah Jackson.
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The document provides an overview of the Dada and Surrealist art movements that emerged in the early 20th century in response to World War I. It discusses key Dada and Surrealist artists like Malevich, Arp, Duchamp, Ernst, and Dali. It also summarizes some of the main ideas and techniques of these movements, such as using shock, nonsense, and irrationality to protest war and established institutions. Dada in particular questioned notions of art, originality, and the role of the artist. Surrealism explored ideas of chance, the unconscious mind, and psychic automatism. Both movements had a significant impact on modern art and cultural production.
Modernism in Art: An Introduction: Revolution and rebuilding, Constructivism...James Clegg
This document discusses several early 20th century art movements that sought to make art more socially engaged, including Russian Constructivism, De Stijl in Holland, and the Bauhaus in Germany. It provides background on key figures like Tatlin, Rodchenko, Malevich, Mondrian, van Doesburg, and Gropius who helped establish these movements. It also discusses how their utopian ideals of integrating art and design with industry and daily life were influenced by developments in scientific management and factory efficiency pioneered by Taylor and Ford.
Modernism in Art: An Introduction: 'Standing in the sumit...' Futurisms' bec...James Clegg
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Modernism in Art: An Introduction: Salon des refusesJames Clegg
This course provides a critical introduction to modernist artistic movements starting from the Salon des Refusés in 1863. It examines Impressionism, Cubism, Futurism, Constructivism, Dada and other avant-garde styles in their historical and cultural contexts. The course structure includes 11 weeks covering these movements and their influence in reshaping representations of the modern world.
How to Write a Good Essay (on Visual Culture)James Clegg
This document discusses how to write an introduction for an essay analyzing the work of artist Sarah Lucas and how she challenged conventional approaches to gender. The introduction would:
1) State that the purpose is to understand how Lucas overturned gender norms in art
2) Provide context on Lucas' rejection of theoretical aesthetics and embrace of popular culture
3) Explain that the impact on gender will be analyzed through critics like John Roberts and Lucas' own works
Originality And The Apparatus Of OriginalityJames Clegg
The document discusses originality and individuality in portraiture. It explores how portraits aim to represent the unique subjectivity and essence of the person portrayed. However, it argues that this illusion of uniqueness falls apart when the semiotic unity between signifier and signified is challenged. As reproductions of portraits became more common and widespread through new technologies like photography, television, and the Internet, it became harder to assert the absolute meaning and individuality supposedly captured in a portrait. This in turn relates to larger shifts in concepts of identity and subjectivity in the modern era.
This document discusses the concept of enculturating the everyday through various artistic and cultural forms. It explores how everyday life has been made visible through photography, film, literature and other mediums. This establishes a relationship between representation and appropriate subjects, privileging descriptive information over narrative. Everyday life is also influenced by how we see and experience spaces like cities, as well as mundane activities. References are provided on related topics like the practices of everyday life, material culture, and aesthetics of the ordinary.
The document discusses various concepts related to narrative theory, including binary oppositions, levels of narrative, and frames. It examines how some films by David Lynch seem to contradict common assumptions about causality, linearity, and character identity in narratives. The document also discusses the concepts of multiplicity, becoming, simulation, and rupturing narratives. It provides examples of artworks that demonstrate these concepts, challenging traditional understandings of narratives.
The document discusses how narratives center around representations of people but that objects and spaces can also take on representational roles that influence the significance of people's actions and engage the imagination. It provides examples of how objects can become extensions of people's bodies or take on human-like qualities from anthropomorphic representations. Spaces are also discussed as having narrative potential when imbued with human associations or meanings related to identity, comfort, and fear. The document argues that considering objects and spaces can provide new perspectives for understanding narratives.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
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His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
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4. Clement Greenberg “The task of self-criticism [in modern art] became to eliminate from the specific effects of each art any and every effect that might conceivably be borrowed from or by the medium of any other art. Thus would each art be rendered ‘pure’, and in its ‘purity’ find the guarantee of its standard of quality as well as of its independence.” (Greenberg [1965] 2004, p.775)
8. The consequences of Greenberg’s modernism: “...visual art should confine itself to what is given in visual experience, and make no reference to anything given in any other order of experience” (Ibid p.777) Backgound: Morris Louis (1961) Theta. Acrylic on Canvas
23. Questioning modernism The art practices of the 1960s reflected a broader questioning of the values underpinning society. In art, these questions would be directed against the conventions assuring modern art of it’s “purity”: the autonomy of traditional disciplines (such as painting or sculpture), the separation of art from life or popular culture, the gallery system, the status of artist and role of the spectator, to name but a few.
24. Art & Language (1980) Portrait of Lenin by V. Charangovich (1970) in the Styile of Jackson Pollock II.
25. Gerhard Richter (1986) Blue. Oil on canvas (300cm * 300cm) Jackson Pollock (1952) Blue Poles number 11. (212.9 cm * 488.9 cm)
26. References Fried, M ([1965] 2004) Three American Painters, in W and Paul Wood (eds) Art in Theory: 1900-2000. Oxford, Blackwell publishing. Pp. 787-93. Fried, M ([1966] 2004) Shape as Form: Frank Stella’s New Paintings, in W and Paul 793-5. Greenberg, C ([1962] 2004) After Abstract Expressionism in Harrison, W and Paul Wood (eds) Art in Theory: 1900-2000. Oxford, Blackwell publishing. Pp. 785-787. Greenberg, C ([1965] 2004) Modernist Painting in Harrison, W and Paul Wood (eds) Art in Theory: 1900-2000. Oxford, Blackwell publishing. Pp. 773-9. Hopkins, D (2000) After Modern Art: 1945-2000. Oxford, Oxford University Press. Newman, B ([1946] 2004) The Sublime is Now, in W and Paul Wood (eds) Art in Theory: 1900-2000. Oxford, Blackwell publishing. Pp. 580-2. Newman, B ([1952] 2004) Interview with Dorothy Gees Seckler, in W and Paul Wood (eds) Art in Theory: 1900-2000. Oxford, Blackwell publishing. Pp. 783-5. Rosenberg, H ([1952] 2004) The American Action Painters, in Art in Theory: 1900-2000. Oxford, Blackwell publishing. Pp. 589.
Hinweis der Redaktion
Postmodernism isn’t an easy subject to understand. In fact, critical aspects of postmodernism are opposed to (or at least sceptical of) the notion that there is a single way to understand any given thing. Rather than accepting ‘truths’ or ‘authentic essences’ it politicises them, and attempts to reveal that they are the products of struggle and repression, the result of powerful discourses rather than eternal, universal values. Today’s presentation is intended to give you a taste of what we’ll be looking at over the next 11 weeks, while hopefully equipping you with a basic framework –a starting point – with which to start to understand postmodernism in art.
Today I’ve chosen to start and end this presentation by looking at these two paintings. I’ve chosen them because ostensibly they’re quite similar. They are both abstract paintings. They are both made on very large canvases, the front surface of which they cover completely without border or frame. The colours, though admittedly not identical, do seem to share similar functions: the blues or cool greys seem to comprise the background (or underlying layer), while the warm colours appear on the surface, creating a sense of depth or space. The marks themselves, either appearing like drips, or scrapes, or spats, are suggestive of some kind of intuitive process rather than calculated, premeditated technique. Yet for all these paintings’ similarities, they belonged to two very different discourses on art, two very different ways of understanding what art is. Indeed, we’ll return to this idea towards the end of this presentation.
If postmodernism in art implies some ‘going beyond’ modernism, or establishing a critical dialogue with it [preferable], then it seems appropriate that we start with this question. And in order to find an answer to this question we must start by exploring the work of Clement Greenburg, a very influential American art critic after the second World War.
In an essay called “Modernist Painting” Greenberg offered an explanation for the developments of modern art. This explanation reveals a lot about the way he thought art should be produced and understood. For Greenberg, crucial to modernism was the capacity of an individual discipline to criticise itself (incidentally Western Civilization was placed at the forefront of this process!). In the case of painting therefore, Greenberg pictured an internal process of criticism to generated by the act of painting itself. [Read quote]
This self-critical tendency, according to Greenberg, had been guiding modern art (i.e. Painting) towards what he termed ‘flatness’. For painting to be distinct from sculpture it had to give up its preoccupation with representing (three-dimensional) objects. This development is traced back in “Modern Painting” through a number of centuries. More recent examples of this tendency offered by Greenberg are: Cezanne, Manet, Monet and Mondrian, among others.Of this example Greenberg states: “Manet’s became the first Modernist pictures by virtue of the frankness with which they declared the flat surfaces on which they were painted.” What this purely formal reading misses is any significance the content of this painting might have. For your interest: that the subject of this portrait Berthe Morisot, who was one of the few female artists to exhibit in the Paris Salon and with the Impressionists.
Monet’s contribution to the ‘critical’ progress of modern painting towards flatness was deemed to be his ‘all over’ painting, it’s apparent freedom from the constraints of the frame.
I hope it’s fairly clear now why Greenberg would champion an artist like Jackson Pollock. Pollock’s (ostensibly) radical departure from figurative representation, epitomised in his infamous drip paintings, were seen to be the pinnacle of a radical, avant-garde art – the culmination of modern arts ‘progress’. They seemed to typify a ‘pure’ type of painting, alluding only to painting itself.
Greenberg’s status as an critic essentially helped to propel the artists he promoted, while also spawning like minded critics. However, his formalist approach, in other words his sole emphasis on the aesthetic and technical innovations of particular key (western artists), an his emphasis on purity neglected the often contradictory, political and social dimensions of the artist’s work. I’ll here offer a few examples and discuss some of the broader issues at stake in ‘Abstract Expressionist’ painting.
The label ‘abstract expressionism’ who became synonymous with the ‘modern painting’ Greenberg had promoted, but actually included a diverse range of artistic approaches and outlooks, some of which were subsumed by political pressures.Greenberg was connected to the American Committee for Cultural Freedom, a CIA initiative reflecting the domestic policies in the United States during the cold war. In this context ‘Abstract Expressionism’ was hailed as the great expression of American liberty, diametrically opposed to the constraints of Communist countries who enforced socialist realism. This is ironic given that key figures in this movement (including Pollock and Mark Rothko) actually harboured socialist sympathies. (Pollock had also had an interest in Jungian psychoanalysis and ‘primitive’ symbolism, though that seemed to be edited out of his later works.)In the example provided here, which provides a striking visual contrast to the work of Pollock, Robert Motherwell loads his work with symbolic meanings and references. This piece is part of a series of works called Elegies to the Spanish Republic, a nod toward the fight against fascism in Spain. According to the art historian David Hopkins (Hopkins 2000, p.24), there are also allusions here to the work of various Spanish artists such as Goya, Velasquez and Picasso, as well as the shapes constituting a particular innuendo – a close up of a bull’s genitals featured in a certain Spanish poem.
So the actual complexity of the ‘Abstract Expressionists’ work seems to belie Greenberg’s conception of ‘purity’, and reveal such a notion to be based upon careful selection, or more strongly, exclusion. Throughout the writings of these artists – and critics such as Greenberg – there is evidence of a certain sense of cultural superiority. Indeed, New York, the base for these writers and critics, had surpassed Paris as the hub of cultural power. Barnett Newman wrote, in the essay from which this painting takes its name, “I believe that here in America, some of us, free from the weight of European Culture, are finding the answer... We are feeing ourselves of the impediments of memory, association, nostalgia, legend, myth, or what have you, that have been the devices of Western European Painting [...] The image we produce is the self-evident one of revelation”. (Newman [1948] 2004, p. 581-2) In addition to this, there is also an implicit “masculinity” apparent in the posturing some of the Abstract Expressionists. Newman’s statements represent the way that the power of the art to represent the inner feelings of the artists was largely naturalised. Newman said in and interview, for example: “I start each painting as if I had never painted before. I present no dogma, no system, no demonstrations. I have no formal solutions... I work only out of high passion”. (Newman [1962] 2004, p. 783) Perhaps one feature connecting the Abstract Expressionist was the belief that their work really tapped into to underlying (in some case the term ‘primitive’ was used) human essence. [Newman’s The First man was an Artist]Greenberg’s reading of Newman’s work, to return us to his strict definition of modernism was that “ the new openess they [Newman, Rothko and Still] have attained ... Point [s] to what I would risk saying is the only way to high pictorial art in the near future.” (Greenberg [1962] 2004, p786.) Moving away from Pollock somewhat here, he also says, “Newman’s occasionally brushy edge, and the torn but exact one left by Still’s knife, are there as if to advertise both their awareness and their repudiation of the easy effects of spontaneity” (Ibid)
Greenberg’s conception of modernism, at its most influential in the 1950s, seemed to hold together relatively well, despite the contradictions implicit in ‘Abstract Expressionism’. In fact, Greenberg’s writings, coupled with the patronage of the American cultural policies were widely disseminated. A travelling exhibition called The New American Painting organised by the Museum of Modern Art 1959 was accompanied by an essay by Alfred J Barr, a long time affiliate of the museum and a strong advocate of the idea that ‘Abstract Expressionism’ was a sign of America’s liberalism. In the 1960s however, the emergence of Minimalism would add extra strain to the meticulous formal rules laid out by Greenberg, threatening the ‘purity’ and coherence of modern art ‘from within’. Frank Stella’s work, for example, seems to continue Modern Paintings’ internal process of self reflection, while pushing it to its limits. A critic called Michael Fried, who was close to Greenberg, offers some incite into one of the aspects of Minimalism that would cause it to break with the Modern paradigm. Though he’s essentially an advocate of formalist criticism, he writes (when discussing the work of Frank Stella, Kenneth Noland and Jules Olitski) that “All judgements of value begin and end in experience, or ought to...” (Though he qualifies this by saying that this can be an informed judgement) (Fried [1965] 2004, p. 787). Here is a hint then of the part played by the spectator, the ambiguity of objects subject to interpretation.Elsewhere Fried wrote ofStella’s work, “It is as though depicted shape has become less and less capable of venturing on its own, of pursuing its own ends; as though useless, in a given painting, depicted shape manages to participate in – by helping to establish – the authority of the shape of the support, conviction is aborted and the painting fails.” (Fried [1966] 2004, p.795) What seems to be at stake here is the status of the work as an object. (If you look at your reading materials, those by Roland Barthes might offer significant incite here into the way that intellectuals were trying to better account for the object’s complex relationship to meaning – see Semantics of the Object.) In passing, Stella’s works have also been compared to corporate logos.
Though Donald Judd would continue to cite the influence of Pollock, Clifford Still, and BarnettNewman, his work constitutes a departures from their practice. Significantly like a number of minimalists, this included a transition from painterly abstracts to sculptural forms (a transgression of Greenberg’s insistence on the separation of different disciplines). In addition to this, his work would often be manufactured by various companies, dramatically changing Judd’s relationship to the work relative to the ‘Abstract Expressionists’, whose (‘existentially heightened’) relationship to the production of the work seems all important. Interestingly, you’ll see how suddenly representations of this work start to feature the space of the gallery too – perhaps another sign that the spectator was starting to be considered.Judd also tried to avoid the type of aesthetic decision making typified by the artists representative of Greenberg’s modernism, and instead he suggested that objects simply be placed in some systematic fashion, one next to the other. This relates to the work of certain conceptual artists (such as Sol LeWitt) but firmly emphasises materiality.
Robert Morris did not accept the significance of the ‘Abstract Expressionists’ in the way Judd did. Rather he was more interested in a European tradition related to the Constructivists. His works effaced personal traces (i.e. Distinct colour or shape) and pushed towards anonymity (again distinct from the idiosyncratic tendencies of Willem de Kooning or Franz Kline). More importantly perhaps, his work evoked a sense of theatricality. Each piece became a type of actor, in space. Again this seems like an ‘incestuous’ notion that crucially emphasises the role that the viewer had in completing the work of art – i.e. Walking round, under things, next to things. (Again Barthes’ texts might be useful reference, see The Death of the Author).
I hope this is giving you an indication of how Modernism was stating to decay – loose coherence – from within. I hope it’s apparent too, that Greenberg’s particular reading of ‘Modern Art’, which gained so much momentum, essentially neglected, or to use a stronger term ,represseda whole gamut of experiences and possibilities for art. This is just as apparent in his readings of the work he felt typified modernism as it is implied by the artistic practices he omitted from his account of art. One such example can be noted by looking at the writing of art critic Harold Rosenberg: he wrote “At a certain moment the canvas began to appear to one American painter after another as an arena in which to act... What was to go on the canvas was not a picture but an event. (Rosenberg [1952] 2004, p.589) Neglected in Greenberg’s account was the performance, the body, the ritual of certain painters. To him the object was important because it was aesthetically complete, to the next generation of artists it would be the action of Pollock’s work that would be considered – of which the painting is really just an incidental outcome.Rosenberg once likened one of Frank Stella’s paintings to a closed door. To play upon this metaphor: for the rest of this presentation, before I return to the two paintings introduced at the beginning, all I simply want to do is open this door. To reveal the clamouring, messy, exciting world knocking to get in.
[Music:The Beatles Revolution (1968) Lennon/McCartney]The 1960s was a highly politicised decade, while also seeing a dramatic rise in consumerism and popular culture (what Greenberg pejoratively termed ‘kitsch’). Though it would absurd to suggest that postmodernism had a clear beginning, 1968 is often seen to be important (though highly contested). In France, events culminated in a student demonstration, linked to an avant-garde art movement called Situationism, which objected to the spectacularisation of society and it’s divorce from real life. The philosopher Michel Foucault has also suggested that 1968 marked a repositioning of academic understanding, a turn towards culture and everyday life. Coupled with the ongoing struggle for civil rights, this move might be seen part of a broader questioning of fundamental values (including identity and subjectivity). A year earlier saw the publication of two major texts by Jacques Derrida, Writing and Difference and Of Grammatology. These works similarly question underlying values by placing an emphasis upon the way that meaning is constructed in language. The importance attributed to these works signifies a turn towards considering language as being a prime mediator in all social interactions, what mounted in intellectual terms to what Barthes called The Semiotic Challenge.Artists in the 1960s would explode the concepts of modern art, proliferating an intoxicating range of different practices and approaches to making art. That which had been repressed by Greenberg’s version of modernism (and perhaps more accurately the structures that sustained them) was about a make a dramatic return (if indeed it had ever been away!).
[Weeks 3 and 4]
[Week 5]
[Week 5]Implied in these examples are also the movements in art neglected by Greenberg’s accounts. Primarily Dada and Surrealism (though Futurism, Bauhaus and Constructivism are also worth noting – amongst others!) Levine also reproductions – or found – works by Walker Evans.
[Week 8 (Week 6 Holtzer)]
[Week 9]
It could be argued that postmodern art politicises visual imagery, critically highlighting the power structures implicit in its meaning. Perhaps it could equally be argued however (al la Julian Stallabrass) that the eclecticism of much postmodern art was simply the result of a restructuring of political and economic systems. A question worth considering over the next number of weeks, and one which will be left open, might be, “does postmodern art critically reflect upon consumerism or merely reiterate its diffuse, eclectic strategies?”
To conclude I’ll point out the differences in the way these paintings are considered [Handout: Hal Foster’s The Expressive Fallacy from Recodings] This is to emphasise the cultural (linguistic) turn central to postmodernism. Where the Pollock piece can represent authentic immediate feelings – emanating from ‘modern man’ – the latter is viewed as being the product of signs. Additionally, the ‘purity’ of Pollock piece (which actually contains semi-figurative elements and has a history that complicates Pollock’s role in making the work, suggesting that friends began it with him on a drunken night) is difficult to determine in Richter’s work: the squidgy made marks, and softer edges, seeming to be endlessly evocative of his photo realist works. Where the first was able to attach to a notion of purity, or authenticity, the latter is part of critical perspective that denies that we can transcend the language we habitually deploy, while attempting to promote an art which makes such conventions apparent.