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Lecture Notes from 9/27 and 9/29: The Beat Generation II & The Nouveaux Realists in France

by: maditaylor7

Lecture Notes from 9/27 and 9/29: The Beat Generation II & The Nouveaux Realists in France ARH 4642

Marketplace > Florida State University > Art History > ARH 4642 > Lecture Notes from 9 27 and 9 29 The Beat Generation II The Nouveaux Realists in France
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These are my lecture notes from 9/27 and 9/29 about the beat generation, the nouveaux realists emerging in France and artists such as Spoerri, Rauschenberg and Niki di Saint Phalle! Key: Pink = t...
Art after 1940
Adam Jolles
Class Notes
beat generation, the nouveaux realists emerging in France and artists such as Spoerri, Rauschenberg and Niki di Saint Phalle!, FSU, Art, history, 4642
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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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