Modern Art History Final

Piet Mondrian (Dutch) - “Composition, 1921/Tableau No. II 1921 with Red, Blue, Black, Yellow, and Gray”, 1921-25, oil on canvas, De Stijl

 Salvador Dalí (Spanish) - “The Persistence of Memory”, 1931, oil on canvas, Surrealism

Méret Oppenheim (Swiss) - “Object (Luncheon in Fur)”, 1936, fur-covered cup, saucer, and spoon, Surrealism

Pablo Picasso (Spanish) - “Guernica” 1937, oil on canvas, Cubism/Surrealism

Walter Gropius (German-American) - “Bauhaus Building, Dessau, Germany”, 1925-26, Bauhaus 

 László Moholy-Nagy (Hungarian) - “Untitled (looking down from the Radio Tower, Berlin)”, c. 1928, gelatin silver print, Bauhaus

Frida Kahlo (Mexican) - “Self-Portrait on the Border Between Mexico and the United States”, 1932, oil on sheet metal, Surrealism

Jacob Lawrence (American) - “The Migration Series”, 1940-1941, casein tempera on hardboard, Harlem Renaissance 

 Jackson Pollock (American) - “Number 1, 1950 (Lavender Mist)”, 1950, oil, enamel, and aluminum on canvas, Abstract Expressionism/Action Painting

Willem de Kooning (Dutch-American)- “Woman, I”, 1950-52, oil on canvas, Abstract Expressionism

Mark Rothko (American) - “No. 61 (Rust and Blue) (Brown, Blue, Brown on Blue)”, 1953, oil on canvas, Abstract Expressionism/Color Field

Jean Dubuffet (French) - “Corps de Dame—Château d’Étoupe”, 1950, oil on canvas, Postwar Art/Matter Painting

Robert Rauschenberg (American) - “Retroactive I”, 1963, oil and silkscreen ink on canvas, Neo-Dada

Jasper Johns (American)- “Flag”, 1954-55, encaustic, oil and collage on fabric mounted on plywood (three panels), Neo-Dada

Richard Hamilton (English) - “Just what is it that makes today’s homes so different, so appealing?”, 1956, collage on paper, Pop Art

Andy Warhol (American) - “Marilyn Diptych”, 1962, acrylic on canvas, Pop Art

Donald Judd (American) - “Untitled”, 1969, brass and colored fluorescent Plexiglas on steel brackets, Minimalism

Richard Serra (American) - “One Ton Prop (House of Cards)”, 1969, lead antimony, four plates, Minimalism

Mies van der Rohe (German-American) and Philip Johnson (American) - “Seagram Building, New York, New York”, 1958, International Style 

 Philip Johnson (American) - “Glass House, New Canaan, Connecticut”, 1949, International Style

Joseph Kosuth (American) - “One and Three Chairs”, 1965, wooden folding chair, photographic copy of a chair, and a photographic enlargement of a dictionary definition of a chair, Conceptual Art 

Joseph Beuys (German) - “How to Explain Pictures to a Dead Hare, performance at the Galerie Schmela, Düsseldorf”, 1965, Performance Art/Fluxus 

Nam June Paik (Korean) - “Electronic Superhighway: Continental U.S., Alaska, Hawaii”, 1995, fifty-one channel video installation (including one closed-circuit television feed), custom electronics, neon lighting, steel and wood, Video Art 

Judy Chicago (American) - “The Dinner Party”, 1974-79, multimedia, including ceramics and stitchery, Feminist Art

Maya Ying Lin (American) - “Vietnam Veterans Memorial, Washington, D.C.”, 1981-83, black granite, Post-Minimalism/Public Art

Cindy Sherman (American) - “Untitled Film Still #35”, 1979, photograph, Postmodernism/Appropriation/Pictures Generation

Andres Serrano (American) - “Piss Christ”, 1987, Cibachrome, silicone, plexiglass, wood frame, Contemporary Art/Abject Art 

Felix Gonzalez-Torres (American) - “Untitled (Portrait of Ross in L.A.)”, 1991, multicolored candies, individually wrapped in cellophane, endless supply, Contemporary Art 

De Stijl

Dutch Art Movement founded in 1917 by group of artists and architects. Rejecting naturalistic representation in favor of a stripped-down style mostly made up of straight lines, rectangular planes, and primary colors. Abstraction in response to World War I, though it would restore order and balance.

Surrealism

originated in the late 1910s and early ’20s as a literary movement that experimented with a new mode of expression called automatic writing, or automatism, which sought to release the unbridled imagination of the subconscious. Stems from Dadaism, illogical dreamlike imagery. Also aftermath of World War I. 

Bauhaus

 Founded in 1919 in the City of Weimar by a German architect. School with craft-based curriculum that would turn out artisans and designers capable of creating useful and beautiful objects appropriate to this new system of living. The school building contained many features that later became hallmarks of modernist architecture, including steel-frame construction, a glass curtain wall.

Abstract Expressionism

First movement from United States that had major influence outside its borders. Action painting - the act of creating, the artist's hand is very visual. color field painting - all about how color = emotion. Non-objective pure abstraction, emotionally charged and personal work. Post World War II.

Postwar Art / Matter Painting

Haute Pate (Thick paste), carved in paint before it dried, raw art.

Neo-Dada

 Usage of mass media and found objects in art, assemblages, stems from the original Dada movement, this is a post World War II revival. Encouraging a shift towards the viewer being a part of their pieces, many Neo Dada artists were driven by the notion that it is the viewer’s interpretation of a work – not the intent of the artist – that determines its meaning.

Pop Art

 Pop artists borrowed imagery from popular culture—from sources including television, comic books, and print advertising, often to challenge conventional values propagated by the mass media, from notions of femininity and domesticity to consumerism and patriotism. Reaction to post-war commodity driven values.  

Minimalism

A primarily American artistic movement of the 1960s, characterized by simple geometric forms devoid of representational content. Relying on industrial technologies and rational processes, Minimalist artists challenged traditional notions of craftsmanship, using commercial materials such as fiberglass and aluminum, and often employing mathematical systems to determine the composition of their works. Avoided symbolism and emotional content and focused on the materiality of the works.

International Style

leaming steel, glass, and concrete forms of its most famous buildings, most of manhattan uses international style, its use in postwar housing gave it renown as a symbol of social and industrial progress, and not surprisingly, the International Style often resonated with leftist political groups. In the face of opposition from totalitarian regimes in the 1930s, many of the International Style's European proponents resettled in the United States, where economic expansion after World War II allowed it to flourish, particularly in skyscraper construction.