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by: Nichole Pike

ART 3683 WEEK 7 NOTES ART 3683

Marketplace > Oklahoma State University > Art > ART 3683 > ART 3683 WEEK 7 NOTES
Nichole Pike
OK State
GPA 3.776

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About this Document

These notes cover week 7 of class and wraps up material for quiz 2.
History of 20th Century Art
Dr. Siddons
Class Notes
history, Of, 20th, century, Art, 3683
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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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