Week 9 notes, art history,
Week 9 notes, art history, ARTH 2110001
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This 3 page Class Notes was uploaded by Nicole Notetaker on Wednesday October 12, 2016. The Class Notes belongs to ARTH 2110001 at University of North Carolina - Charlotte taught by Prof. Emerling in Summer 2016. Since its upload, it has received 5 views. For similar materials see Contemporary Art History in ARTH - Art History at University of North Carolina - Charlotte.
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Date Created: 10/12/16
Art History 10/12/16 Exam 2 The Beats Literary Avant-Garde Away from traditional paint, photo, etc. Post War Segregation, integration, desegregation, all leading to the civil rights movement More frequent use of atomic weapons, bombs, etc. Façade, opening of Disneyland in California, pretending things are okay Emmett Till, 14 years old, Christmas 1955 and then August 1955, open casket funeral Stared at a white woman for to long, that night people came and tore him from his home, beat him, injured him, killed him and then through him in the lake Rosa Parks, Montgomery Bus Boycott – “I thought of Emmett and I couldn’t go back.” Ferus Gallery in Los Angles – very important gallery, Andy Warhol will have his first show here. Wallace Berman, Cross (1956-7) The Vice Squad was called to arrest Berman because this offended uptight, traditional people. Lawrence Ferlinghetti in front of City Lights Books, San Francisco (1957) Jack Kerouac, Allen Ginsberg and William Burroughs, New York City (1944) Jack Kerouac, Scroll of On the Road (1951) published (1957) Allen Ginsberg, Howl (1971) Most important piece of literature in the period Bruce Conner, Portrait of Allen Ginsberg (1960) Part of the idea of the Beats Combined the idea of being beat down and the attitudes of the new testaments where the poor, oppressed and abused get the keys to heaven and get rewarded This gets taken literally, work gets made with literal junk, trash, etc. They take something useless and give it artistic, emotional value. Johns and Rauschenberg ideas are still being implemented Jess, Boobs #3 (1954) West Coast funk and junk artist Whole-heartedly return to collage, about the hypocrisy of institutional religion George Herman, The Librarian (1960) Found object = the object choses you, you feel drawn to the object, they make claims Jay De Feo, The Rose (1958-1966) Monumental assemblage-relief sculpture 11’ high and 11” thick. Did this in a tiny ass apartment, started off small and expanded. She got evicted, had many other artist’s help move the work when she gets evicted and it is ridiculous due to size and weight. Almost signifies both violence and destruction as well as meditation and happiness. Ed Kienholz, The Illegal Operation (1962) Refers to abortion being illegal at the time and woman getting cestus or dying due to getting illegal abortions with dirty tools and instruments. Its dirty and disturbing and unsettling. Joseph Cornell, Untitled; Soap Bubble Set; (1936) & Untiled; The Hotel Eden; (1945) Made in a shadow box, includes great detail. Its like its own little world, takes a long amount of time and he is doing this on his own in his mom’s basement. Simon Rodia, Watts Towers, Los Angeles (1921-1954) Done in tiny subdivisions in Los Angeles, very simple, done to help his town have more energy be more efficient. Became much bigger then he intended, space, light, color, form. Bruce Conner, Looking Glass (1964) Refers to Lewis Carroll, lower half has tattered photos of pin up girl, the top is much more intricate. His signature, he makes these assemblages and wraps them in women’s stockings, rag picker. Only artist that did this, big signifier. Many of his works signifies sexualized women bodies that have been deformed or destroyed in some way. Bruce Conner, Black Dahlia (1960) Based off the real murder case, very disturbing and creepy, signifies the body dismemberment and the blood draining. There are pornographic images of girls and many other fetish objects. Louise Nevelson, Dawn’s Wedding Chapel II (1959) Nevelson uses paint to cohere her compositions, to enhance the encounter with these works and to bring her works together as a collective. John Chamberlain, Velvet White (1962) Basically a distorted version of a new car. Names them based off the colors you could get Betye Saar, Omen (1967) She uses the box form because she was obsessed with Joseph Cornell’s work from the first time she saw it. She also witnessed the Watt Towers being built. She was always the kind of person that collected things no matter where she went. She started using it in a artistic way. She wanted to use the fetish in a West African way, to associate with memory and loss. She wanted to go away from the sexualization and more towards the importance of an object emotionally. She called her boxes coffins because they all hold something of the past.
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