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Lecture Notes 9/20 & 9/22: The Situationists, Cobra, and International Materialism & The Beat Generation I

by: maditaylor7

Lecture Notes 9/20 & 9/22: The Situationists, Cobra, and International Materialism & The Beat Generation I ARH 4642

Marketplace > Florida State University > Art History > ARH 4642 > Lecture Notes 9 20 9 22 The Situationists Cobra and International Materialism The Beat Generation I
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About this Document

These are all the notes I took from these days! Including movements such as the Cobra and the Situationists as wells as the Beat Generation. Including artists such as DeKooning, Jorn, Rauschenberg....
Art after 1940
Adam Jolles
Class Notes
FSU, Art, history, 4642, after, 1940, beat, generation, cobra, jolles, Fall, 2016
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This 10 page Class Notes was uploaded by maditaylor7 on Thursday October 6, 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 8 views. For similar materials see Art after 1940 in Art History at Florida State University.


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Date Created: 10/06/16
9/20/16: Situationalists, Cobra and International Materialism • Paper ◦ Midterm: Oct. 11 ◦ Thesis statement!!! ◦ Outline argument ◦ Logically presented ◦ Accept drafts before class on the 8 Setup a meeting and go through in person ◦ Go look at Book in the Rose gallery Pieces at the exhibit in the book • • END OF PREVIOUS LECTURE: • • Dubuffet and Giacometti ◦ Possible comparison on first exam? ◦ Gestural ◦ Heaviness (Dubuffet) ◦ Core interest in traditional genres in painting history A way of engaging with art history Americans keen on bashing the old Creating a new civilization in NY ◦ Dubuffet, Henri Michaux 3D quality like a relief of sorts thick and rough added unconventional materials pebbles, sand, dirt, objects ◦ Giacometti, The Artists Mother Manic reworking Deliberate choice on his part Geometry An architectural and spacial frame for the subject Uses continuous reworking of lines to convey some sort of space in which he resides ◦ Portraiture matters The problem is how to convey the practice of portraiture • • Critics ◦ Argue that America won the Post-war cultural war ◦ That is to say that the American model was better than the European post-war model • • Francis Bacon, Three Studeis for figures at the base of a crucifixion ◦ Figures are gruesome, violent ◦ Violent in contrast of colors Pale grey surrounded by loosely designed architectural orange spaces ◦ Sense of agony Figure on right seems to be confused Screaming mouth ◦ Look like theyre being put on display They seem isolated from the space they inhabit ◦ Two-fold connection to the history of religious painting Three wailing figures Any representation from 1400-1600 that show figures beneath Christ after he’s been taken down Wailing at the loss of humanity Three panels suggestive of a triptych ◦ Catholic imagery ◦ Modernism Alienation, confusion • • Bacon, “Figure with Meat” and “Painting” ◦ Both using meat to frame central figure ◦ Both symmetrical Mirroring effect ◦ “Slaughterhouse of Europe” to describe the carnage conflicted on civilian population during WWI ◦ Figure in “Figure with Meat” Velazquez “Portrait of Pope Innocent X” Rembrandt, “The Slaughtered Ox” th mid 17 centure period bacon loved to look at for visual inspiration ◦ “Painting” umbrella surrounds figure suggesting other sources news photographs Bacon encountered of politicians speaking • • • TODAY’s LECTURE: • • Movements prided on being international ◦ Embracing international brotherhood ◦ Popularity of communism ◦ Post War = Cold War Communism doesn’t mix well with America • • CoBrA ◦ Movement ◦ Name is acronym of three cities of origin of various founding members of the group: Copenhagen, Brussels, Amsterdam ◦ Founded during major international conference held in Paris Curled snake came to symbolize group ◦ Group of artists unhappy about something They get together, create a name for themselves, publish a manifesto Manifesto printed and circulated publicly ◦ Avant Garde Association is its really significant New, doesn’t adhere to rules, the way everyone else does things Gets absorbed into political and artistic discourse New, original, modern work Its going to violently reject what you expect to see ◦ Think of these artists as looking to create from spontaneous intuition Similar to Dubuffet • ◦ Appel, Questioning Children Lack of polish and finish in forms Apparent disregard for volume No gradation of shade or shape Playfulness Wonderfully bright colored images • ◦ Willem DeKooning, Woman I Transforms her into an animal Violent brush strokes Grotesque quality Way he disfigures the body Highly sexualized, breasts occupy more space than anything else Face stripped of personality Slashing with large quantities of paint • ◦ Asger Jorn, Nuremberg Trash Bridge between cobra and Situationist Int. “Nuremberg Trash” Slang term for cheap disposable goods denigration of aesthetics ◦ Jorn, “The Avant-Garde Never Gives Up” “The Disquieting Duckling” Taking amateur paintings found at flee market and makes additions to them Reference to Duchamp, Mona Lisa Imitation Jorn tracing lineage between himself and earlier form of avant- garde known as Dada Spontaneity The duckling Graffiti like scrawl of title in the figure on other painting Childlike but has intent Duck in the pond Shocking, disorienting Tongue and cheek references to childhood stories and general understanding of relatively young Avant-Garde and recent history Iconoclasm Taking someone else’s work and ruining that work Not great work, not masterpieces • Situationist International ◦ Group in Europe ◦ Published a journal ◦ Proposed through series on manfiestos, articles, and books A means of radically changing urban lifestyles ◦ Two Terms: Derive (on test) Detournement (on test) 9/22/16: The Beat Generation I: The Fifties Two groups of artists and writers  Cobra — artists that are from Copenhagen, Brussels and Amsterdam  Alechinky  one of the founding Belgian members  CoBrA of Transmission  1968  lithograph and acrylic painting  snake like form, common them of the group  free gestural stroke  unrefined, unfinished looking  Situationist International (S.I.)  cold war spy group  Debord — writer who is most associated with this group  The Society of the Spectacle  1957­72  Principles of group:  associated with radical disposition in society, artists have to engage  themselves with social issues  be aware of one’s place in society  situationist psychology  in french:  diversion and drift  diversion: disruption  drift: rerouting  these are practices associated with orientation  The Naked City (Illustration of the Psycho­Geographical Turntables  Hypothesis & Memories (Load­Bearing Structures)  Jorn and Debord  elements of design  pop culture in use of contemporary newspapers  extracts from text of newspapers and also Debord’s writing  1957 & 1958 respectively  psycho­geography is a defining principle  deep dissatisfaction with today’s trajectories and routines  says to disrupt these trajectories; rediscover individuals and  community and intimacy  Antiluna & Industrial Painting  Pinto Gallizio  decided he would completely alter way of approaching the  method of making art  actions against romanticism; anti aesthetic gestures  facilitated his expanding and dismantling view of painting  larger and longer than able to make stretcher for; instead looks  like utility scroll  500 ft long  creates it’s own environment as seen in Cavern of Antimatter  Beat Generation  Typed Manuscript for On the Road  Kerouac  narrative autobiographical novel  no traditional structure of novel or any plot dynamics  purposeless journey  typed pages adhered to a scroll  Automobile Tire Print  Rauschenberg and Cage  Beat Ethos  artists redefining themselves  based in New York  interested in experimenting  Black Mountain Collage  experimentation and collaboration very much  encouraged  done with composer Cage  very abstract performances of silence  car drove over paint and stamped this piece on multiple sheets of paper  you can see this trajectory motion of driving somewhere  scroll painting — breaking away from western version of painting and  making art  calligraphy of movement  Erased de Kooning Drawing  Rauschenberg  1953  wanted to make a work of erasure  didn’t like to erase his own drawings  asked friend de Kooning to draw for him  he was happy to contribute to the work  traditions of pencil drawings and the process involved (erasing)  not defacing art or dada  Odalisk  Rauschenberg  1955­58  known for his mixed media assemblages using unconventional materials  usually 3D  “any incentive to paint is as good as any other … a canvas is never empty"  title is a reference to nude women and odalisque venus figures of beauty in  art  combine has some kind of anthropomorphized form  Rebus  Rauschenberg  title means visual puzzle  mess of commercial high art and low art reference  imagery one would expect a painter to be familiar with  experiences of a conspiring painter  Bed  Rauschenberg  intimacy, primacy, personal intersubjectivity  paint could symbolize bodily fluids?  could symbolize where art comes from  can’t control dreams or nightmares  white portion of painting is a cerebral activity


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