ART 3683 WEEK 7 NOTES
ART 3683 WEEK 7 NOTES ART 3683
Popular in History of 20th Century Art
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This 5 page Class Notes was uploaded by Nichole Pike on Thursday September 29, 2016. The Class Notes belongs to ART 3683 at Oklahoma State University taught by Dr. Siddons in Fall 2016. Since its upload, it has received 14 views. For similar materials see History of 20th Century Art in Art at Oklahoma State University.
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Date Created: 09/29/16
WEEK 7 NOTES ART 3683 DISCLAIMER: THESE NOTES WERE TAKEN FROM WHAT WAS RETAINED FROM CLASS LECTURE AND TEXTBOOK READINGS. THESE ARE IN NO WAY COMPREHENSIVE, BUT SHOULD BE USED IN CONJUNCTION WITH CLASS MATERIALS PROVIDED BY THE PROFESSOR. SURREALISM Naturalistic Surrealism continued dominant form of surrealism were not supposed to have our own experience, but rather look at what the artist was experiencing you could collect symbolism of artists if familiar or could analyze these paintings from the artist’s perspective our view is to be analytical Dali thinking of distortion of space or hyperrealistic unconscious narrative sometimes paintings related directly to historical events Rene Magritte (Belgian, 18981967) main representative of intellectual surrealism thinking about things like parapraxis thinking about relationship between words and image; painted thing and the real world much more interested in talking about art and a less political Magritte, Treachery of Images the image is betraying us somehow; deceiving us conversation of abstraction and naturalistic surrealism inviting the conversation about the representation by painting the thing by painting the words directly onto the painting Magritte, Human Condition metajoke since the real world is depicted as a painting in a painting; it’s all painting making things that are normal into something strange power of visual art could use naturalism to make the natural world strange again DADA arises in Zurich, Switzerland since they were neutral looking at WWI and it seems neverending begin making nonsensical art; paintings, poem, music, etc. said if the world doesn’t make sense, then we’ll make art that doesn’t make sense expressing the frustration through that a lot of ways to introduce chance artists start to explore how chance interacts with system how can they create order out of chaos; a potent metaphor Hammer Flower moves towards realism because he wants a change New York Dada had a sense of humor distant culturally, even though American audiences are involved and understand war engage in more lighthearted ways with Americans Stieglitz was very involved in having European Dada artists come to America European artists saw America as focused on technology; ahead of England Francis Picabia, Ideal (portrait of Alfred Stieglitz), 1915 Stieglitz was a photographer and the camera become Stieglitz literally deconstruction of camera is a creative tool which was still controversial Marcel Duchamp (French, 18871986) “To put art back in the service of the mind.” exposed to the radical shifts of postimpressionism and those of the turn of the century was influenced by the individualism of symbolists was required to serve in the French military and worked with Press was interested in the manipulation of press in a variety of ways key figure in bringing the ideas of Dada to New York taking a little bit of chance and a little bit of system and combining them the accidental and arbitrary are a fact of life “readymade” “assisted readymade” readymade objects put together to make a sculpture arguing for fundamental equality for objects and demoting the artists for Duchamp, the idea was not about the thing, but instead the idea behind the thing Man Ray, Rrose Selavy, 1921 Duchamp’s alter ego was Rrose Selavy was introduced to the world through Man Ray’s work published writing under that name; second identity allowed Duchamp to have a fuller artistic and social identity Man Ray, Untitled, Rayograph, 1922 Man Ray, Gift, originally 1928 Duchamp “mechanomorphic” in the shape of mechanical things trying is to communicate the top half as the bride and the bottom half the bachelor’s trying to woo her questioning the process of the art Duchamp, Box in a Suitcase miniature versions of Duchamp’s art resonance of suitcase with refugees and fleeing Nazis and the war the idea can escape when the work can’t the idea that the concept continues out there, even if the work can’t THE ASHCAN SCHOOL term first used in 1916 was not an official group of people Young used this term because it was an ordinary object and elaborate or fancy getting away from elitist art to a more demographic one Robert Henri (American, 18651929) coming into a forward thinking environment in terms of subject matter Henri starts looking at American labor in a variety of different ways bright light impressionist paintings as he is finishing school in 1888 he goes to Paris and goes to the primary art school in Paris, Julien diverse but traditional education at this time in the beginning of the 20 century as he begins teaching, his art takes a dramatic shift second guesses his interest in impressionism Henri, Sidewalk Café, c. 1899 simplifying forms not using a bright light pallet; darker tones stopped worrying about the immediacy of impressionism elevated perspective; it’s unclear where the viewer actually is rejection of the immersive point of view sense of contrast, and imagery from abbreviated use of colors starts to attract private students to his studio while he continues to teach these were known as the “Philadelphia Four” interested in the fast paced rendering; those who had background in newspaper press people watching in an urban space; sidewalk cafes were often places to people watch critics name the Eight artists the ashcan school Henri, Portrait of Mary Patton, 1927 portraiture was a guaranteed sense of income continues with dark tones and contrast enjoys capturing personality the rest of the ashcan school were interested in very different things the Ashcan artists were interested in looking at things from the view of the working people in order to allow the viewer to identify with them John Sloan (American, 18711951) Sloan, Picture Shop Window, 190708 interested in urban experience engaged in the spectatorship perspective he doesn’t turn away from this perspective but is rather interested in the access to images pointing out the way it disrupts the status quo very positive rendering of consumerism experience Sloan, Two Black Crows, 1924 begins to look at different things as he grows older this back and forth between urban and rural landscapes interest in the Southwest becomes a huge part of his art and goes back in forth to places introduces the tension between the urban and the rural there is a curiosity of American landscape and seek to explore it Reginald Marsh (American, 18981954) interested in working class work and rights interested in materiality Marsh, Pip and Flip, 1932 interested in Coney Island and the source of entertainment for working class people completely seduced by the circus and freak shows interested in Renaissance mural painting using visual repetition is trying to say the crowd that is as framed as the circus itself, are just as freak showish as they are also interesting to look at Marsh, The Bowl, 1933 American culture is conservatism but also has moments of release, much like Coney Island people can go against convention chaotic ride that allows bodies to lose control; a pile of human flesh in a bizarre way saw this as a metaphor for an urban societal experience; a chaos of body Marsh, Tattoo HaircutShave, 1932 people under an elevated train in storefronts giving us the structure like in the storefront painting not the most lucrative business front because of the trains going by, you have these discount places underneath structure signs and words tell us about the type of people here the two men in the front who are invalids from the first world war legacy was very present and a new war could be eminent in the future a lot of anxiety about global politics at this time collects the people who have nowhere else to go Edward Hopper (American, 18821967) Hopper, New York Movie, 1939 an experience that people think is entertaining and fun but focuses on the staff hopper is playing with the association of color movies of fantasy and pleasure and uses color where the worker is Hopper, Nighthawks, 1942 space is 90% empty space and a few people in the diner creates curiosity with what time it is and what are these people doing shows the loneliness of the urban area chooses to use a realistic mode of expression of figures even though it is not a realist painting he uses narrative to express this Alfred Stieglitz (American, 18641946) gallery owner, curator and photographer Stieglitz, 291, 19051917 first successful gallery thought of himself of a figurehead and had a unique insight Stieglitz, An American Place, 19291946 Americans are asking what makes American exceptional how is America different from other nations, etc. sense that American culture and society that made it unique An American Place is proving this uniqueness promoted the people in his circle like crazy promoted in terms of how American they are what is the most truly American modernist thing is? PRECISIONISM coined in the 1920s an aesthetic strategy or technique by this group very closely associated with the artists in Stieglitz’s circle invented by people in the group Georgia O’Keeffe (American, 18871986) Midwesterner O’Keeffe, Evening Star VI, 1917 paints watercolors as she teaches in Texas often nighttime or dusk paintings Stieglitz marries O’Keeffe in 1924
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