Lecture Notes from 9/27 and 9/29: The Beat Generation II & The Nouveaux Realists in France
Lecture Notes from 9/27 and 9/29: The Beat Generation II & The Nouveaux Realists in France ARH 4642
Popular in Art after 1940
Popular in Art History
This 11 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 10 views. For similar materials see Art after 1940 in Art History at Florida State University.
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Date Created: 10/06/16
9/27/16: The Beat Generation II: The Fifties Monogram & Bed o Rauschenberg o 195559 o may have influenced pop art o Steinberg, artist and art historian who wrote about Rauschenbergs work attaches significance to the flat bed picture frame when moving the horizon line off the canvas, it conveys a sense of flatness (Monet) o modernist painting is selfreflexive — referring to the medium and the limitations of the medium that they are working in not representational or mimicking anything personal and intimate art infatuated with markmaking and messyness Rauschenberg working through his interpretation of abstract expressionism o Steinberg: "canvas replaced by “receptor” surfaces where the “data is entered”" data replaces paint or notion of paint/medium (in contrast to Pollock) o Monogram Interpretation: Angora goat found in second hand store changing of vertical orientation to a horizontal orientation combine another reference to tire awareness of the work he has already done monogram: emblem of something significant — tongue in cheek descriptor goat and O of the tire— why it is called monogram combination of these elements atop a seemingly unconnected surface— creating something new and unforeseen reference to surrealism and abstract expressionism off the wall —> on the ground Jasper Johns in his New York Studio o Rauschenberg o johns good friends w rauschenberg lover and friend o Italian art dealer Leo Costelli — featured some of Johns pieces at first then a second solo show that was very successful sells four pieces to Alfred Barr of MoMA o neither of these artists are well known in the 1950s; not famous until 1960s Target with Four Faces, White Flag & Flag o Johns o says in interview that he is not a pop artist “my paintings are not simply gestures… they are facts…" o drawn to specific content: items with connotations and significance o he adds outside elements such as newspapers to his thick paint o flag significance in the 1950s — however not a comment or protest o designed store windows such as White Flag in Bonwit Teller Department Store o Target doesn’t have as much as a symbolic value as the flag; however it has a purpose and direction of attracting your focus o unknown faces panel that can drop down and hide them Thermometer & Map o Johns o 1959 & 1961 respectively o thermometer: two panels with thermometer insert temperatures penciled on side o Map, of the us also uses stencils to write the names of states similar to his Flag piece o free; childlike gestures o no emotions present or exploration of what is American through what seems “nationalistic” content iconic images and modifying them stenciling— prefabricated marks o messiness — signals abstract expressionism adding a map or thermometer adds objectivity to abstract expressionism — very unusual and noncharacteristic Painted Bronze (Ballantine Ale) o Johns o 1960 o “that son of a bitch you could give them two beer cans and he could sell them” de Kooning about Leo Costelli o not at all like the abstract sculptures of the time (Calder) Performing Seal o Calder o 1950 o usually sculptures before this time are figurative, representational crafted from bronze or marble o now the thing for a sculptor to have is a welding torch o all abstract even if representational The Street & The Store, 107 East Second Street o Oldenburg o very unconventional sculptures o departure from typical mediums of sculpture o 1960 & 1961 respectively o items soaked in plaster o grand scenes of the world of capitalism o the store is his own independent gallery — objects placed on display wanted to have an autonomous space and not function like a gallery Floor Cake o Oldenburg o large scale soft sculptures the later these get the more polished his work becomes Lingerie Counter o 1962 o all of his objects are commodities — a thing for sale that you want can be fetishized The American Supermarket, exhibition at the Bianchini Gallery, NY o 1964 o every object in store are fabricated to appear as a part of an actual supermarket o you can’t actually have the purpose of a supermarket as you cannot buy campbells soup ( 9/29/16: The Nouveaux Realists in France Clyde & Kroll o Chamberlain o 1961 o also when to black forest college o worked exclusively with scrap metal unlike the other art pieces in sculpture using scrap metal for example: Voltri XV by Smith o nongeometric form o crumpled car — associated with (mentally) transportation, freedom, youth, money ruin of these ideas? destruction of the American dream? o moving away from the chiseled mark of the sculptor Sky Cathedral & New Continent o Nevelson o 1958 & 1962 respectively o “Had all this wood laying around, started assembling it" refer to essay o found wood assembled in to hard grids o the wood makes the sculpture and Nevelson is the aid to the woods creating The Illegal Operation & Back Seat Dodge ‘38 o Kienholz o 1962 and 1964 respect. o large scale assemblages with found objects, some installation o car mesh figures, front of car cut off and the middle cut out combined beers lying around chickenwire figures having sex o the ‘illegal operation’ = abortion dirty and some kind of medical tools Nouveaux Realism o group that formed in Paris apartment of Yves Klien 78 members announced by a critic Pier Restany from France neoavantgardism collaborations highly selfconscious of its place in history ; constantly emulating predecessors disbands 1970 o described as “new perceptions of the real" o the way they work with their medium are very much similar to the avant garde workers before them (Dadaists, Surrealists) o devalues the touch of the artists no real gestures that are meaningful such as in abstract expressionism o Yves Klein: Monochrome Propositions, Blue Epoch & Blue Monochrom Yves Klein 1957 & 1961 death of painting/end of painting all painted blue but each priced differently maybe slightly mocking and confrontational o Anthropometrics of the Blue Period & Mondo Cane Shroud & Anthropometry (Princess Helena) Klein one of many periods performance piece, very theatrical 1960 & 1961 paris host of musicians play at the event artist himself manicured and dressed in a suit employed female nude models to become his brush and instrument of artmaking body prints reconceptionalized idea of the artist as a choreographer another example of nouveaux realists devaluing the artists touch the artist didn’t touch the canvas (artistically) public spectacle interesting interpretation of the classical “female nude" o Zones of Immaterial Pictorial Sensibility Klein contract need to have all of these figures watch him buying space and being able to paying for space in gold leaf then depositing gold leaf into the Seine you don’t get anything o “Leap into the Void” and The Void (The specialization of sensibility of a Raw Material State into Stabilized Pictorial Sensibility Klein zen refusal to traffic in objects Leap into the void = crafted image of him falling from high published in a newpaper the void = emptying a gallery of its entirity o Le Plein (FullUp) Arman opposite of the Void by Klein art gallery completely stuffed with garbage bags also look at all of this stuff wasting space! in response to Klein’s notion that space is value o Chopin’s Waterloo Arman taking things, piling them to platforms and then hanging those platforms on a wal shatter piano adhered to a surface o La vie pleines dents (Life to the Fullest) Arman obvious rejection of aesthetic propriety grotesque pun in tital o Kicka’s Breakfast & Hungarian Meal Spoerri 1960 &1963 “what am i doing? glueing together situations that have happened accidentally so that they stay together permanently. hopefully making the observer uneasy” not a rotting grotesque attaches them to a wall went to grocery store in copenhagen and declared it to be his work lol o bleu O noir & ABC Villeglè peels posters off of the wall seeks out sections of the poster that have already been altered by the public/used/dirty/graffiti Jaques Villeglè tearing down posters in Paris, 1963 what does a poster mean in a public setting? to what extent have these been modified? public resistance to politics and corporate advertising o relocation is becoming a big peace of what creating art means o
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