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Week 1 Lecture Notes 9/8/16 : Exile and Occupation: Global Displacement and New Encounters

by: maditaylor7

Week 1 Lecture Notes 9/8/16 : Exile and Occupation: Global Displacement and New Encounters ARH 4642

Marketplace > Florida State University > Art History > ARH 4642 > Week 1 Lecture Notes 9 8 16 Exile and Occupation Global Displacement and New Encounters
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These are the notes from the first real lecture class on Exile and Occupation: Global Displacement and New Encounters!! Includes artists from Kandinsky to Noguchi! For reference: pink italics...
Art after 1940
Adam Jolles
Class Notes
Art, after, 1940, FSU, ArtHistory, kandinsky, jolles, arh4470, Florida, state, noguchi




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This 7 page Class Notes was uploaded by maditaylor7 on Thursday September 22, 2016. The Class Notes belongs to ARH 4642 at Florida State University taught by Adam Jolles in Fall 2016. Since its upload, it has received 59 views. For similar materials see Art after 1940 in Art History at Florida State University.


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Date Created: 09/22/16
 World War II o artistic and intellectual communities are displaced by war and found  New York as a new center for the arts o 1930­1939 also important in this shift  production of art is prescribed and censored  Kandinsky is major figure during this pre­war time  the extent to which he sought to explore removing the  narrative from art and only working with things that were  specifically fine art (color, shapes)  starts in Russia ­­> Munich —> Russia for revolution,  doesn’t work well with Communistic Ideals —> Germany  joins Bauhaus and teaches in the school —> Nazis don’t  like this  “Bourgeois Art in the Blind­Alley of Formalism and Self­Negation”  installation in :”Art of the Capitalist Era” exhibition at the Tretyakov Gallery,  Moscow, 1931­32 o ALSO: “Take Dada Seriously­ It’s Worth It!” installation in Denigrate  Art Exhibition, Munich 1937 o Kandinsky show­case  Forcefully denounce modernism   formalist and abstraction (associated with Capitalism by communist government) and degeneracy  Abstract Gallery in Peggy Guggenheim’s Art of This Century Gallery, 1942 o Kandinsky stars and is liked by peggy and critics o United States is out of the way and considered Cosmopolitan­ISH  New York becomes increasingly desperately Cosmopolitan after  those artists in Europe left  Cosmopoliton: interest in the arts and academics, promotes  diversity (ethnic, gender, economic) and forces the collision of  these cultures   only the highly educated class or people of well means (artists,  aristocrats, writers, musicians) can come in  The Defense of Sebastopol o Deineka, 1942, oil o conventional figural arrangement o academic, nationalism, propaganda o traditional painting style juxtaposed by the brutal scenes of war  there is no room for artists in this war­there is no criticism or  expressionism of themselves o artist finds voice for himself by contributing patriotism to the war efforts of Russia  Salon d’automne (“Salon de la Liberation”), Paris 1944 o Picasso stayed in France during the war most of the time  he is celebrated as per usual  Independent mind; force of modernism; one of 2 artists in France  that was forced by Nazi’s to not exhibit  still lives, portraits, nudes, are present however  The Charnel House & Guernica (1944,1937)  for some reason he does not make art regarding terrible war and strife like he did with these two paintings  here there is a dark complexity to the image  picasso had a monumental loss to his content of art during the war  Shop Window for Bonwit Teller Department Store o Dali, 1936 New york  entrepreneur success with his artist abilities  combines his own peculiar surrealist dreams paired with the latest  accessories and fashion for sale  Broadway Boogie­Woogie o Mondrian 1942 NY o he explores abstraction as if there have been no changes to the art  world/society o a painting is always a grid that never changes o DeStijl o he continues to make and exhibit work for MoMA successfully o critical response: short of a masterpiece; to safe; Greenberg “The title  suggests that the painting has a topic, in order to stay fresh"  engaging with topography of New York streets;  moving/relocating/finding your space in that new environment  adapting himself to the grid  contemporary jazz is forming Modrians movements  B­10 Space Modulator o Moholy­Nagy 1942 o teaching becomes a major career path for other artists o he moves to Chicago to open up New BauHaus   Institute of Design  for young american artists that wanted to find out what successful  contemporary European artists are working on  He was a teacher that didn’t stop experimenting in his own work  new media — plexiglass  breaking down 2D and 3D barriers  First Papers of Surrealism o Breton and Duchamp, NY 1942 o surrealist group migrates somewhat together and contained to NY o first papers referring to the papers one received after emigrating to the  United States o filled space with string  cobwebs— old ‘european’ decor and painting style— archaic  could be about multiple points of art   physically inaccessible you can not see the art  you have to find your way through the exhibition such as a  maze  the maze of trying to get situated in New York during exile  Young Cherry Trees Secured against Hares o Duchamp, Cover for Breton’s book, 1946 NY  Box­in­a Valise o Duchamp, o crafted a box within a box o Louis Vuitton suitcase to a mini­musuem  commissioned reproductions of his own work  he made this before he would leave anywhere  sell these mini­museums to a number of dealers  Taglioni’s Jewel Casket & Untitled (Penny Arcade Portrait of Lauren Bacall) o Cornell 1940/1945 NY o inspired by Duchamp’s boxes he made hundreds o enthusiastic response to Duchamps playful surrealist qualities o transmission ideas to Cornell that might not have had these ideas if they  didn’t come into contact o intimate and meant to be held o honoring ballerinas and movie stars — always women  Surrealist Gallery in Peggy Guggenheims Art of This Centruy Gallery o Kiesler 1942  Vox Angelica o Ernst, 1943 o revelatory in it’s aesthetic   The Onyx of Electra o Matta 144 o very successful after emigration o wasn’t from Paris to begin with— Chilean  o a new kind of pictorial space that however doesn’t look that different  than the First Papers of Surrealism o non­figurative line  not a collapse of pictorial space but a strangely formed one  “Psychologic Morphology” ~Surrealists  a space that is infused with personality,  sexuality, idiosyncracies   Listen to Living o Matta, 1941 o shows him using new experimentations with new materials  fields of color  “Psychological exploration of form” —> Morphology from  Breton  Automatism:the artist is expected to let the hand run free and  determine on its own what marks are made  Dark Malembo, God of the Crossroads, & The Jungle o 1943 Lam o not exiled  returns to cuba and applies his new art style to the world around  him  Santeria, cuban influences and cultures,   carribean WILDERNESS very different that Parisian  landscape  Les Demoiselles of Avignon o Picasso 1907 o similar to Lam and this kind of sexualized cubism o female women and african/tropic influences  Kouros o Noguchi, 1944 o forced to emigrate o Japanese artist o elects to make marble and other sculptures o named after archaic male greek figure o no mood or emotion o rigid and flatness such as in the old greek sculptures  Indefinite Divisibility o Tanguy, 1942 o interested in autonomy of the form but also how it shapes this landscape   Lunar Landsape o Noguchi, 1943 o reers to intergalaticity o interested in experimenting and adapting 


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