AAH 122 Midterm II

- prefabricated building, glass would "slide into place"

- glass only found in England, "bragging"

- Hyde Park provided a central location surrounded by nature

- Combines industry with art

- 1851 ft long, the year it was designed

- The idea came from greenhouses

Joseph Paxton, Crystal Palace, Hyde Park, London, 1851

- a moment where the horse "flys"

- camera is making claims of the truth; can't be seen with the naked eye

- metal pieces placed in the ground trigger the shutter

- photojournalism: how much are you told to see

- Is photography art or science or both?

Eadweard Muybridge, "Horse in Motion", 1878

- little to no movement, "staged."

- bodies are stiff and anonymous = modern society

- use of science, structure, society, rigor, and convention (NOT storytelling)

- culmination of tiny dots in varying colors- reflects social classes mixing

- "pointillism" and "divisionism."

Georges Seurat, "A Sunday on La Grande Jatte", 1884

- in humane features

- represents the horrors of WW I and II

- extremely popular = continues to connect to modern events/tragedies

- nature is the one screaming

- paintings are now connecting the viewers through emotions

Edvard Munch, "The Scream", 1893

- most energized pushback against stereotypical work

- audience should be confused

- puts us in context with an object in a different context

- not about materials, it is about concept

- "ready made": taken from world and put directly on display

- thing that's most drastically changed is the viewer

Marcel Duchamp, "Fountain", 1964 (originally 1917)

- focus on function and structure, not beauty and style

- standard design

- 21 buildings demonstrating standardized housing solutions

- flexible interior layouts/plans

- many famous architects created modern movement

- rational, modern living

Deutscher Werkbund (Mies van der Rohe): Weissenhofsiedlung Exhibition, Stuttgart, 1927

- movement of the body

- canvas on the floor due to size, horizontal painting

- unprimed canvas: paint lies on the canvas differently

- "action painting" extenuated

- no story or history, for public consumption

- memories arrested in space

- spontaneity reflecting the time period (jazz, psychoanalysis, surrealism)

Jackson Pollock, "Autumn Rhythm (Number 30)", 1950

- white, rectangular, linear

- not decorative

- timelessness, no past reference

- "less is more."

- pursuit of minimalism

- connectivity to nature

- completely open floor plan

Mies van der Rohe, Farnsworth House, Plano, Illinois, 1951

- "pure architecture"

- aesthetically austere, no ornament to it

- international style building; could "belong" anywhere

- impersonal and cold design

- inhumane, not popular, alienating

- "less is more"

Mies van der Rohe, Seagram Building, New York City, 1958

- refusal to express any emotions

- such a "low bar" connection to art (is this even art?)

- site specific! light reflects on a specific floor, creating space

- deliberately boring

- exists by itself

Dan Flavin, "The Diagonal of May 25, 1963 (To Robert Rosenblum)", 1963

- "less is bore"

- interior elements on the exterior

- vernacular

- post-modern architecture

- complexity and contradiction

- disorienting design

Robert Venturi, Vanna Venturi House, Philadelphia, 1959-1964

- what's real vs fake art?

- comic strip but made by hand

- rejecting machines making artwork/no human intervention

- painting is painfully excluded from the comic/consumer lense

- Benday dots: pixilations

Roy Lichtenstein "Ohhh...Alright...", 1964

- consists of a real chair, a photograph of a chair, and a definition of a chair

- the idea became the content

- makes us think more deeply

- having the viewer "play the game" that the artist created

- is it a chair? language used to describe determines whether it is or not

- role play not perception

Joseph Kosuth, "One and Three Chairs", 1965

- all local materials

- ideas of spatiality and temporality

- embedded in cycles of nature + depends on nature

- no institutional framing

- time, space, entropy (ephemeral), non-object

Robert Smithson, "Spiral Jetty", Great Salt Lake, Utah, 1970

- "semiotic architecture": symbols of Italian culture instead of functional spaces

- populist, humorous form of architecture

- "postmodern ruin"

- Neo-Roman motifs

- monument over functional

Charles Moore, Piazza d'Italia, New Orleans, 1978

- all untitled works

- images look like movie scenes, familiar

- designed to look like the exist but don't actually exist

- stereotypes precede identity

- a phenomenon of post-modernism

- experiences that many women have faced

Cindy Sherman, Film Still series, 1970-80s

- audience should recognize the reference to Duchamp's work

- reverting and turning into an actual piece of art

- re-inserting materiality in artwork, bronze cast

- struggle to think of anything original

Sherrie Levine, "Fountain (After Marcel Duchamp)", 1991

Luc Delahaye, "L'Autre", 1999

- use of anamorphosis

- art can be manipulated and distorted however the artist may want

- art is constantly evolving

- perspective, or not?

- three pillars of art: love, money, fame

- high social class as audience but viewing a simple space

Samuel van Hoogstraten, Perspective Box, 1655-60

- combining technology/science with art

- "modern" piece that refocuses on nature

- "bio-digital" work

- a piece of art work showing an artist creating (a painting of a painter painting)

- new interpretation of art

- does science belong in the art canon?

Neri Oxman, Silk Pavillion, 2013

- cultural assertion through art

- a hierarchy in the art community

- History overlooks works outside of the European collections

- Commenting on changing the narrative to represent all people better

Joaquin Torres-Garcia, "America Invertida," 1943

- captures minimalism

- the equally formed grid = equality of races

- meditation through the shared form of humanity

- "Is art meant to be primarily about beauty?

Byron Kim, Synecdoche, 1991

- mundane nature develops a dramatic subject

- Rhopography challenges humanism

- No such thing as a "narrative", just objects that God created

- simplicity

- God's beauty despite no depiction of him

Juan Sánchez Cotán, Still Life with Quince, Cabbage, Melon, and Cucumber (1602)