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Contemporary-A.H.
Contemporary Movements- Art History
Question | Answer |
---|---|
Greenberg | flatness and picture plane "old school" |
Rosenberg | critic- all about process. artists hand in work |
Rauschenberg | artist, used found things, white painting |
Sartre | act of risk and moment; action painting-gestural |
DuChamp | removing the artists hand and found objects |
Suzuik | writer, zen "in the now" |
John Cage | found sound and sound objects "water walk" (chance) connect to Dadaism |
John Kaprow | the happenings-found objects and chance, experience. 18 happenings in 6 parts. tires to walk through, time, space, sound, viewer |
Schnemann | performance art "snow" abstract expressionism. tried to do other movements. Viet Flakes and cold war "chance" |
Warhol | removing hand, mechanical reproduction- screen printing, video- art is without message |
Morris | sculptor "L beams"; "red velvet" minimalist, interacting with space. make viewer involved. separating painting from sculpture |
Maciunas | "Fluxus"-repeated by anyone-guidelines, @ 10 seconds squeeze the duck, invented Yoko Ohno-cut piece |
Judd | cubes on wall "untitled"- ratio plexiglass denying sculpture material in math way, incorporate audience. object as fact. industrial |
Marcuse | critic, philosopher, rise of nuclear day |
Carson | environmentalist, poisoning our world and environment with insecticides "silent spring" |
Schneeman | Viet Flakes- response to war, little bit of chance- performed |
Le Wit | Boxes of boxes- ratio, conceptual 8:5:1 modular open cube pieces |
Kosuth | 1 in 3 chairs, conceptual "idea" Semiotics= symbols that create meaning, conceptual |
Lepard | interview- will real art accept-educational, conceptual art. will the world buy and sell art? |
Denes | Rice, Tree, Burial, representational, message event because not in gallery. post minimalist |
Smithson | against plain white room of gallery. institution, reference to site outside of gallery. earth works and spiral |
Post-Impressionism | 1880-1900: Gauguin, characterized by bright colors, sharp, often outlined edges, experimenting with techniques |
Expressionism | 1905-1920: Kandinsky, no other point but to be expressive |
Cubism | 1905-1920: Picasso, breaking up object and reassembling them but no reasoning behind them |
De Still | 1905-1920: Mondrian, lines with red, blue, yellow blocks |
Futurism | 1905-1920: embracing movement in the present |
Dada | 1915-1940: CHANCE, rejecting logic because of war. Place emphasis on the act of making, fountain by DuChamp |
Surrealism | 1915-1940: Dali, adopted manifesto to break western tradition, embraced chance, embraces "artist is the genius"- the thought of a piece was genius, influenced by Freud |
Abstract Expressionism: Action Painting | 1940-1960: showing movement/ process in the painting, Pollock, importance of risk, Greenberg, timeless |
Abstract Expressionism: Color Field | 1950-1970: flatness--Greenberg, red and blue block of paint, all about flatness and abstraction |
Pop | 1956-1970: Warhol, repetitive mechanical, taking artists hand out of the work, magazine collage, excluding notion that artists can only be the soul creator |
Happenings | 1960-1968: Kaprow, only happen once, involves the audience- engages the senses, space, time, viewer, everyday objectives, process, CHANCE, FOUND OBJECTS, FOUND SOUND |
Performance | 1962-1970: has a meaning but doesn't always involve the audience |
Fluxus | 1962-1970: inspired by John Cage, takes artists hand out of piece, can happen as many times, no narrative, zen-in the moment, no meaning |
Minimalism | 1959-1967: embraces industrial process, removes artist hand, in both painting and sculpture |
Conceptual Art | 1966-1980: Kosuth, three chairs, idea made by artist but meaning is created by viewer, interpret as you want |
Post Minimalism | 1967-1970: Organic, repetition, more subjective response, create your own meaning, embraces chance |
Earthworks | 1968-1977: objected institution, entropy- natural destruction |
Avant-gardist | desired to reintegrate art and life |
Industrialization | age of steam engines, trains, manufacturing and in 19th century- telegraph, and phone |
Modernists | wished to keep art pure from the effects of industrialization |
Surrealist | value unconscious mind> real life |
DeKooning | Painted, then scraped it away to start again |
Archetype | ancient/ archaic images that derive from the collective unconscious. Embedded in minds of every person, recognizable through life experience |
Impasto | thickly applied paint |
Sentinel | "Stand guard" |
Key tenets of Greenberg | purity, autonomy, formalism, his criticism derives in part from a rejection of art that imitates and refers to art. |
Bourgeois | middle class or upper middle class |
Compositional elements of happening | time & space (found), some repetition, interaction of the viewer, everyday objects, process, found sound |
Cold War | 1947-1991: a continuing state of political conflict, military tension and proxy wars primarily between the soviet union and U.S. |
Semiotics | the relation between signs and the things to which they refer |
Signifier | the form of the word or phrase |
Signified | the mental concept to which it refers "idea" |
Structuralism | each individual culture should be understood as a system of signs. there is a universal, underlying structure to the formation of signs within the human mind (right vs wrong, good vs evil) aka binary oppositions |
Structuralists | believed that art depends not on the artist but on society at large for its meaning |
Institutions | galleries, museums, auctions, dealers |
Absurdity | views in different way, Dada |
Entropy | tendency of matter and energy toward disorder |