Art Appreciation

Chapter 1: What is Art?

How to label art:

Artist’s name, art title, date it was made, medium, size of the art, location.

Five traits that define creativity:

1. Associating

2. Questioning

3. Observing

4. Networking

5. Experimenting

Medium: a particular material used to make art

Mixed Media: describes art created with a combination of materials

Representational Abstract Art: depicts a figure or subject in a distorted manner

Non-Representational Abstract Art: no object or figure

• Presents visual forms with no specific references to anything outside themselves

Representational Art: depicts the appearance of something

Figurative Art: people

Subjective Art: objects—not people

Trompe L’oeil: French for “fool the eye” depicting objects in paintings/drawings in a realistic manner

Iconography: subjects, symbols, and motifs used in an image to convey its meaning

Not all works contain iconography

Chapter 2: The Purposes and Functions of Art

Why artists make art:

1. Art for daily use—art that has a function

   ex: Frank Lloyd Wright, Barnsdall House

2. Art for visual delight—art that fulfills the artist’s need to express beauty

   ex: Charioteer

3. Art for communication—art that tells a story

   ex: Fransisco Goya, Third of May 1808

4. Art for public expression—art done in remembrance

   ex: Taj Mahal; Vietnam War Memorial

5. Art for personal expression—express the artist’s personality, worldviews, beliefs

   ex: Frida Kahlo, The Broken Column

6. Art for spirit; Art for worship—religious art

   ex: Sainte Chapelle

7. Art for politics—tries to sway your political opinions

   ex: U.S. Supreme Court

Chapter 3: The Visual Elements of Art

1. Lines—the most basic element

   • can make shapes, texture, space

   • active/static, aggressive/passive, sensual/mechanical

2. Shapes—come across 2D and 3D shapes

   • geometric: triangle/pyramid, circle/sphere, square/cube

   • organic: animals, people, plants, etc.

3. Mass—3D objects have mass

   • 2D objects can allude to mass with shading

4. Space

   • 3D objects take up space

   • 2D objects can allude to space

   • lines

   • overlap, diminishing size, vertical placement

   • Linear Perspective: uses math to show space and proper proportions

   • Atmospheric Perspective: the closer things are more detailed than what is further away

5. Time—art can allude to time passing

6. Motion—art can allude to motion

   • Kinetic Art: a sculpture that can move

7. Light—the most important element

   • makes seeing possible

   • makes colors

   • can be a medium

   • can alter moods

   • chiaroscuro: using light and dark to allude to mass

8. Color—we use the color wheel

   • achromatic: no color

   • monochromatic: one color

   • primary colors: red, yellow, blue

   • secondary colors: orange, green, violet

   • intermediary colors/tertiary colors

   • complimentary colors: colors directly opposite on the color wheel

   • analogous colors: colors next to each other on the color wheel

9. Texture—3D art has texture

   • 2D art can imply texture

   • impasto: a painting with actual texture

Chapter 4: Principles of Design

2D artists take into account composition

Design encompasses all art

Repetition and rhythm

Scale and proportion

• Asymmetrical: not balanced

• Symmetrical

• Directional Forces

• Focal Point

• Scale

• Hierarchical Scale

• Unity

• Complete Disorder

Chapter 5: Evaluating Art

Art Criticism: making discriminating judgments, both good and bad.

Formal Theory: did they do a good job in comparison to another work?

Contextual Theory: did they do a good job of representing that historical moment

Expressive Theory: did they do a good job of getting their point/idea across to the viewer

Chapter 6: Drawing

Receptive Drawing: attempts to capture the physical appearance of something before us

Projective Drawing: drawing something that only exists in our minds

Drawing serves three functions:

1. Notation, sketch, or record something seen, remembered, or imagined

2. Study or preparation for another, usually larger and more complex work

3. As an end in itself, a complete work of art

Techniques:

• Lines

  • hatching: parallel lines suggesting shadows or volumes

  • cross-hatching

  • contour hatching

Dry media:

• pencil

• charcoal

• conté crayon

• pastels

Wet media:

• ink

Chapter 7: Painting With a Jigsaw?

Three ingredients in all paint:

1. pigment: usually a fine powder

2. binder: binders hold pigment particles together

3. vehicle: what makes the paint usable

Watercolor

• Binder: gum arabic

• Vehicle: water

• Pro: allows light to pass through

• Con: unerasable

Buon (wet) Fresco

• Binder: lime

• Vehicle: water

• Pro: smooth and durable surface

• Con: plaster dries quickly

Encaustic

• Binder: hot beeswax

• vehicle: hot beeswax

• Pro: vibrant colors

• Con: difficult to keep wax at the right temperature

Tempera:

• Binder: egg yolk

• Vehicle: water

• Pro: precise work

• Con: color changes while drying

Oil Paint:

• Binder: linseed oil

• Vehicle: turpentine

• Pro: greater opacity

• Con: yellows with age

Acrylic

• Binder: acrylic polymer

• Vehicle: water

• Pro: versatile

• Con: dries rapidly

Chapter 8: Printmaking

There are several different types of printmaking and they each use different technologies and methods:

• Relief

• Intaglio

• Lithography

• Stencil

• Silk Screen Printing

There are three types of relief prints:

• Woodcut/woodblock—softwood

• Wood engraving—hardwood

• Linocut—rubber

Intaglio:

• image is carved onto a sheet of metal

• modern intaglio is often plastic

Lithography:

• works on the concept of grease and eater repelling each other

• each color requires a separate stone

Silkscreen and stencil:

• frequently used to print onto t-shirts

• you must do each layer and color on a different screen

Chapter 9: Photography

• photography originally made artists angry, just like AI

• the first two types of photography were printed on paper or metal; metal was more popular thanks to its clarity

• a woman invented the selfie

• a rich guy turned photography into a medium

• color photography wasn’t as popular as black-and-white photography because it was less dramatic

Chapter 10: Moving Images

Visual Film Techniques:

1. Film Editing

2. Shots

3. Transitions

4. Close-ups

5. Panning Shots

6. Montage

7. Storyboards

8. Hand Drawn Animation

9. C.G.I.

10. Special Effects

film examples: voyage to the Moon, un chien andalou, fantasia, Spirited Away

Chapter 11: Graphic Design

• one of the most lucrative art forms

• uses eye-catching topography (fonts and colors) and displays of color to attract customers

• Donald Meeker used Sans Serif on road signs in 2004

• Posters: used to be conise visual announcement

  • quick easy way to get your point across to consumers

• Logo: a way to easily identify companies and a form of graphic design

• Title sequences: graphics used to set the tone for the movie or show to follow

• Interactive Graphic Design: tiktok, Instigram, snapchat, video games, Bjork’s Biophilia app

Chapter 12: Sculpture

freestanding sculpture: able to move around the sculpture

relief sculpture: a sculpture that projects out from a background; there are two types of relief, low and high

relief sculpture: only slightly projects from the background

high-relief: more than half of the sculpture projects from the background

modeling: you are adding pliable materials to create a sculpture

armature: an inner support within a sculpture

mold: used in the casting process

• artists today experiment with new materials in their castings

carving: removing materials to create a sculpture

installations: an artist transforms an entire space

site-specific: works created for a specific space

Chapter 13: Craft Media in Useful Objects

Fine art:

• paints

• Mona Lisa

• No function

Crafts:

• ceramics

• bowl

• has a function

A way to elevate craft mediums is to remove the function

Ceramics

• earthenware—fired at low temps

• stoneware—fired at high temps

• porcelain—made from granite & fired at high temps

Metal

• various types of metal can be hammered, drawn out, welded, joined with river or cast

Glass

• can be used to make stained art or made molten

• molten glass is malleable and can be blown, cast, or molded

Wood

• to make, draw a cartoon, lay the paper on a wood panel and prick holes in it. Then dust the paper. After, the pieces are cut to fit the design and glued to hold them all into place.

• marquetry—a technique in which multiple small pieces of wood in different colors and textures are laid down in a design with no bounding wall between them

Textile

• on—loom using warp and weft to weave

• off—loom anything that doesn’t use a loom

• warp—in weaving, the threads that run length-wise in a fabric, crossed at right angles by the weft

• weft—in weaving, the horizontal threads interlaced through the warp

Chapter 14: Architecture

Dry Masonry: the result of amassing stones to make a structure

• ex: Dolmen, France.

Stone dressing: stones that are shaped before use

• ex: Great Zimbabwe, Zimbabwe before 1450.

• ex: The Great Pyramids, Giza.

Post-and-beam: also called post and lintel, two posts hold up the weight of the beam

• ex: Stonehenge

Colonnade: a row of columns

• ex: St. Peters Basilica

Dome: a curved roof for a building

• ex: Dome of the Rock

Arch: stones are packed together to form an arching shape that is held in place with a capstone

• ex: Trumphal Arch, Paris, France

Arcade: a series of arches supported with columns

• ex: Pont de Gard, Nimes, France, 15ce.

Gothic arch: arch with a point at the top

• ex: Notre Dame de Chartes

Flying buttresses: created to alleviate the weight of the walls of buildings

• ex: Notre Dame de Chartes

Minarets: towers synonymous with Islamic architecture

• ex: Hagia Sophia

Chapter 15: From the Earliest Art to the Bronze Age

Paleolithic Art

• old stone

• nomadic

• oldest art from Africa

  • engraved ochre

  • Hohle Fels figure & women of Willendorf

  • both nude females

  • both small

  • possible religion

  • cravat cave painting

  • usually animals in profile (side) view

Neolithic Art

• new stone

• agricultural revolution

• introduce ceramics and structures

  • earthenware baker Susa

  • Stonehenge

  • megalith

Mesopotamian Art

• 1st civilization

• fertile land

• agriculture, livestock, writing, bronze, job specialization

• social hierarchy

• Sumer—1st group

• priest-kings

  • ziggurat

  • sacred mountain

  • mud bricks

Akkadia—conquer Sumer

• bronze

  • head of akkadian riler

  • state of narim sin

  • hierchical scale

  • composite profile

Egyptian Art

• afterlife

• pharoah-living—gods

• art doesn’t change much

  • mastaba

  • steppyramid

  • great pyramid

  • statue oof menjaura

    • stiff

    • not freestanding

  • temple of Hatshepsut rock-cut tomb

  • wall paintings

    • hierarchical scale

    • composite profile

Chapter 16: The Classical and Medieval West

Greek

Geometric Period

• marks the end of Greece’s Dark Age

• the name comes from the geometric shapes seen on the artifacts

• figures are very reminiscent of geometric shapes

• patterns are repetitive

• commonly seen on vessels such as Kraters

• Krater— large vessels with handles, usually used for mixing wine with water

Archaic Period

• shows influence from Egypt as trade increased

• Kore—archaic female figure (youthful)

• Kouros—archaic male figure (youthful)

• figures are in rigid frontal poses and are life size

• weight is evenly distributed

• archaic smile

Classical Period

• Contrapposto—counterpoised

• Polykleitos of Argos, Spear Bearer (Doryphoros), 5th ce. BCE, Marble, Roman copy

• he studied many models and felt these were the ideal proportions of a male human

• wrote a book about it

• early example of contrapposto

• Venus de Medici by Praxiteles shows off the late classical more feminine version of contrapposto

• it is also a sculpture that shows off the typical female nude positioning

Hellenistic

• Greek-like

• influenced by other cultures

• very expressive over-exaggerated

• lots of movement

Rome

• Roman sculpture:

  • very realistic prior to Greek influences. After incorporating Greek sculptures into their society, the sculptures tend to emulate Greek Classical styles

  • originally, they showed person’s imperfections, rather than idealizing them like the Greeks

  • Rome is more known for their architecture and civil engineering

• Colosseum

  • arcade

  • colonnade that features different Greek orders

  • used for entertainment

• Pantheon—a religious structure dedicated to the major gods/goddesses

  • portico

  • colonnade

  • coffers

  • oculus

  • concrete

  • dome

Early Christian Art

• simplified figure painting

• used for education

  • ex: Christ and the Apostles. Early CHristian fresto. Catacomb of St. Domitila, Rome, Italy Mid-4th century

• Constantine’s Role

  • Moved Capital of Roman Empire to Constantinple (Byzantium)

• Roman basilica adapted for public worship

  • ex: Old St. Peter’s Basilica

Byzantine Art

• mosaics incorporated gold backgrounds

  • ex: justanian Mishup Maximus and attendants mosaic on the north wall of apse, San Vitale, Ravenna, Itally. ca 547.

Iconoclastic Controversy

• image-breakers, or iconoclasts

Early Medieval Art

• nomadic germanic tribes

• known for organic shapes

Romanesque—known for architecture

• visual artists aided religious pilgrimages

  • reliquaries to hold sacred objects

  • churches feature stone carvings

Toulouse

• the ceiling has high barrel caults

• engaged columns into piers

Gothic Art

• round arch superseded by pointed arch

• cathedrals filled light and upward-reaching

Chapter 17: Renaissance and Baroque Europe

• renaissance literally means “rebirth”

• humanism

• evolution of individual artists, not anonymous Middle Ages artists

• realism

• Early in Italy

  • wealth of merchants

  • Masaccia, The Holy Trinity

    • linear perspective

• Donatello, David

  • First life-side, freestanding nurse statue since ancient Rome

• Botticelli, Birth of Venus

  • neoplatonist philosophy

High Renaissance

• Between 1490-1530

• Leonardo da Vinci, Michelangelo, Raphael

• Leonardo da Vinci

  • a true renaissance man

  • Mona Lisa.

• Michelangelo Buonarotti

  • David

  • first and foremost sculptor

    • Pope Julius II ordered Michelangelo

• Raphael

  • third major artist of the High Renaissance

  • warmth

  • clarity and balance

The Renaissance in Northern Europe

• preoccupation with depicting life in the real world

  • Jan van Eyck of Flanders

  • one of the first to use oil as a painting medium

    • detail and depth are believable

    • brilliance and transparency of color previously unattainable

• Albrecht Dürer

  • German

  • a printmaker and painter

  • used oil paints to illustrate realism

Baroque

• about 1600-1750

• art moved in the direction of drama, emotion, and splendor

• set aside balanced harmony of Renaissance artists in favor of innovative use of space

• foreshortening and sharp diagonals

• Counter-Reformation of the Roman Catholic Church

Italian Baroque

• Caravaggio

  • down-to-earth realism and dramatic use of light

  • used directed light and strong contrasts

    • chiaroscuro/tenebrism

    • foreshortening

• Gianlorenzo Bernini, David

  • as influential in sculpture as Caravaggio in painting

The Baroque in Flanders and the Netherlands

• Peter Paul Rubens

  • highly demanded European artist

• Jan Vermeer

  • Genre paintings

• Diego Velázquez

  • painted for Philip IV, King of Spain

• Palace of Versailles built for King Louis XIV

• Hall of Mirrors

  • visual spectacle reflecting status

Rococo

• light, playful version of Baroque

  • enthusiastic sensuality

• romantic versions of life free from hardship

Chapter 21: Late Eighteenth and Nineteenth Centuries

• stylistic pluralism

• traditional sources of patronage gradually withered

• Art academy controls the art market

  • they don’t like you, your work is not put on display

Neoclassical (art academy liked it)

• roman clothing

• architecture

• stories

• classical style

• Artists: Jacques-Louis David, Angelica Kauffmann

  • Jacues-Louis David. The Oath of the Horatii. 1784. Oil on Canvas

  • Angelica Kauffmann. Cornelia, Mother of the Gracchi, Pointing to Her Children as Her Treasures. c.1785. Oil on Canvas

Romanticism (art academy liked it)

• in reaction to Neoclassicism

• interest in the exotic

• preoccupation with current events

  • Francisco Goya. The Third of May, 1808. 1814. Oil on canvas

  • Joseph Mallord William Turner. The Burning of the Houses of Lords and Commons. 1834. Oil on canvas

  • Thomas Cole. The Oxbow. 1836. Oil on canvas

Realism (art academy did not like it)

• elevated the reality of lower class lide to large painting format

• reaction to both Neoclassicism and Romanticism

  • Gustave Courbet. The Stong Breakers. 1849 (destroyed in 1945). Oil by canvas.

• accusations towards Courbet

  • raising “a cult of ugliness“

  • inartistic and socialistic work

  • led him to set up his own eshibitions

• oil painting outdoors (en plein air)

• Édouard Manet

  • predecessor of Impressionism

  • combines flattened painting in the Japanese style with Courbet’s realism

  • interested in visual issues over content

    • Édouard Manet. Le Béjeuner sur I’herbe (Luncheon on the Grass). 1863. Oil on canvas

Impressionism

• group formed after denial to 1873 Salon and organized independent exhibition

• “impressions“ of what the eye actually sees

• impressionists

  • small dabs of color that are separate strokes

    • Claude monet. Impression: Sunrise. 1872. Oil on Canvas

    • Pierre-Auguste Renoir. Le Moulin de la Galette. 1876. Oil on canvas

    • Edgar Degas. The Ballet Class. c.1879—1880. Oil canvas

    • Mary Cassatt. The Boating Party. 1893—1894. Oil on canvas

• disbanded after eighth exhibition in 1886

The Post-Impressionist Period

• Post Impressionism

  • did not share a single style

  • all reactions to Impressionism

• avante-garde (all post impressionist works discussed today fall under this category)

Divisionism (pointillism)

• optical color mixture

  • Georges Seurat. A Sunday on La Grande Jatte. 1884—1886. Oil on canvas

Formalism

• formal style

  • Paul Cézanne

    • Paul Cézanne. Mont Sainte-Victoire. 1902—1904. Oil on canvas

Expressionism

• expressionist style

  • emotional intensity through strong color contrasts, bold brushwork, and contours

    • Vincent van Gogh. The Starry Night. 1889. Oil on canvas

  • Paul Gauguin

    • The Vision After the Sermon

      • depicts Brttany peasante’ vision

  • Edvard Munch. The Scream. 1893. Tempera and crayon on cardboard.

Chapter 22: Early Twentieth Century

• characteristics of 20th century art

  • rapid change

  • diversity

  • individualism

  • exploration

Fauvism

most noted foe their use of bright colors

• called les fauves by the critics (translates to the wild beasts)

• 1905-1907

• Henri Matisse. Le Bonheur de vivre (The Joy of Life). 1905-1906. Oil on canvaas

• André Derain. London Bridge. 1906. Oil on canvas

Der Brucke

• Der Brucke (The Bridge) a German Expressionist group

• wanted to form a bridge between Germany’s past and modern life

  • “a link between the present epoch and the creative future”

• Gothic: pointy, tall, stained glass

• Present: bright color, bold brushstrokes

• Ernst Ludwig Kichner. Street Berlin. 1913. Oil on canvas

• Ernst Ludwig Kichner, Self-portrait as a soldier, 1915.

Der Blaue Reiter

• Der Blaue Reiter (The Blue Rider)

• founded by Russians and Germans

• 1911-1914

• Wassily Kandinsky. Der blaue Berg (Blue Mountain)

• Wassily Kandinsky. Composition IV. 1911. Oil on canvas

• Franz Marc, Fate of the Animals, 1913, oil on canvas

Cubism

• Georges Braque and Pablo Picasso created the art style while Picasso was living in Paris

• emphasis is placed on shapes rather than emotions

• heavily influenced by Cezanne and African sculpture

• Georges Braque, Houses at L’Estaque, 1908, oil on canvas

• Pablo Picasso. Les Desmoiselles d’Avignon (Young Ladies of Avignon). Paris. 1907. Oil on canvas

Analytical Cubism

• broke down objects into basic geometric shapes

• illustrates things from multiple vantage points

• incorporated newspaper text

• achromatic

• Georges Braque. The Portuguese. 1911. Oil on canvas

Synthetic Cubism

• a modified Analytical Cubism using color, texture, and patterned surfaces

• Pablo Picasso. Guitar. 1914. Construction of sheet metal and wire

The Amory Sow

• Alfred Stieglitz

  • The Armory Show 1913

  • influential gallery including photography in New York

    • Began to show work by American modernists

• Georgia O’Kegge. Evening Star No.VI.

• Marcel Duchamp

  • Nude Decending a Staircase, No.2

    • references analytical cubism with the edition of movement

Futurism

• Italian Futurists

  • added a sense of motion to the multuple vantage points of Cubism

• Giacomo Balla. Abstract Speed

Chapter 23: Between World Wars

• permanent change of political and cultural landscape

Dada

• begun in protest of horrors of WWI

• felt the war was pointless, as a reaction, they made pointless art

• readymades

• Marcel Duchamp. L.H.O.O.Q. 1919. Pencil on reproduction of Leonardo’s Mona Lisa.

• Marcel Duchamp. In Advance of a Broken Arm, 1964

• Marcel Duchamp, Fountain, 1917, Urinal.

Surrealism

• importance of the unconscious

  • psychology and Dadaism combined

• Max Ernst, The Horde. 1927. Oil on canvas

  • technique of frottage

• Salvador Dalí. The Persistence of Memory. 1931. Oil on canvas

• Joan Miró

  • Automatism

    • scribbling, doodling to probe unconsious

• Joan Miró. Woman Haunted the Passage of the Bird-Dragonfly Omen of Bad News. 1938. Oil on canvas

• Rene Magritte. The Lovers. 1928. Oil on canvas

Suprematism

• interest in expanding Cubism

• complete abstraction

• Kazimir Malevich. Suprematist Composition: Airplane Flying. 1915. Oil on canvas

Constructivism

• revolutionary movement in Russia

• en expansion on cubism and suprematism

• Lyubov Popova. Painterly Architectonic. 1917. Oil on burlap

De Stjil

• De Stjil

  • Dutch movement toward utopian speculation

  • Piet Mondrian

• Piet Mondrigan. Tableau 2 with Yellow, Black, Blue, Red and Gray. 1922. Oil on canvas

Political Art

• protest fascism and dictatorship a common theme

• Guernica, Pablo Picasso

Social realism

• harkens back to realism (elevating thee lower class)

• uses socialist ideals

• Vera Mukhina. Monumetn to the Proleteriat and Agriculture. 1937. Stainless steel. Height 78’

• Diego Rivera. The Liberation of the Peon. 1931. Fresco

USA Political Art

• U.S. Depression years

  • Works Progress Administration (WPA)

• Dorothea Lange. White Angel Bread Line, San Fransisco. 1933. Photograph

American Regionalism

• search in the U.S. for national and personal identity

  • focus on the local

• Edward Hopper. Nighthawks. 1942. Oil on canvas

• Grant Wood. American Gothic. 1930. Oil on beaverboard

Latin American Modernism

• question of relating to European culture

  • “Cannibalism“

    • ingesting European culture to nourisn self-expression

• Xul Solar. Dragon. 1927. Watercolor on paper

• Frida Kahlo. The Two Fridas. 1939. Oil on canvas

African-American Modernists

• Harlem Renaissance

  • The New Negro, Alan Locke

  • artistic movement attuned to cultural heritage of African-based styles

    • visual as well as written art

• Sargent johnson. Forever Free

• Jacob Lawrence. General Toussaint L’Ouverture Defeats the English at Saline

Chapter 24: Postwar Modern Movements

• following World War II

  • prominent artists fled to the U.S.

The New York School

1. Abstract Expressionism

   • culmination of Fauvism and German Expressionists

   • Rudolph Burckhardt. Jackson Pollock Painting in East Hampton, Long Island.

   • Jackson Pollock. Autumn Rhythm (Number 30). 1960

   • Willem de Kooning. Woman and Bicycle. 1952-1953. Oil on canvas

2. Color field painting

   • large areas of color with no obvious structure, central focus, or dynamic balance

   • Mark Rothko. Blue, Orange, Red. 1961. Oil on canvas

Assemblage

• loose conglomeration of seemingly random objects

• Robert Rauschenberg. Monogram. 1955-1959

• Edward Kienholz. John Doe. 1959. Free-standing assemblage: oil and paint on mannequin parts; perambulator, toy, wood, metal,, plaster, plastic, and rubber

• Niki de Saint Phalle. Saint Sebastian, or the Portrait of My Love. 1960. Oil, fabric, darts, and nails on wood and dartboard

Events and Happenings

• Gutai (Embodiment)

  • foreshadowed happenings and performance art in the West

• Saburo Murakami. Passing Through. 1956. Performance

• Events - planned and practiced

  • Jean Tinguely. Homage to New York: A Self-Constructing, Self-Destructing Work of Art. 1960

• Happenings

  • viewers participate

  • partly planned, partly spontaneous

  • Allan Kaprow. Household. Performed May 1964. Happening commissioned by Cornell University. The Getty research Institute, Los Angeles

Pop Art

• incorporates real objects or mass-production techniques

  • parody of superficiality, materialism of popular culture

• Richard Hamilton. Just What Is It That Makes Today’s Homes So Different, So Appealing? 1956. Collage

• Andy Warhol. Marilyn Diptych. 1962. Synthetic polymer paint and silkscreen ink on canvas

Minimalism

• no story, no personal expression, no content

• focus on color and form

• Donald Judd. Untitled. 1967. Stainless steel and plexiglass, ten units

Conceptualism

• in which an idea takes the place of the art object

• creator merely carries out the idea

• Joseph Kosuth. One and Three Chairs. 1965. Wooden folding chair, photographic copy of a chair, and photographic enlargement of dictionary definition of a chair. Chair

Site-Specific Works and Earthworks

• site-specific - made with a specific location in mind when designing the work

• Christo and Jeanne-Claude. Running Fence. 1972-1976. Nylon fabric and steel poles

• Earthworks - sculptural forms made of earth, rocks, and sometimes plants

• Walter De Maria. The Lightning Field. 1977. 400 stainless-steel poles, average height

Installations and Environments

• fabricated interior installations that transform a space based on a theme

• Yayoi Kusama. Infinity Mirror Room: Phalli’s Field. 1965. Installation

Early Feminism

• femisism - made are to attempt to bring awareness to female issues and help women gained more possibilities in the art

• Judy Chicago. The Dinner Party. 1979. Mixed media

• Nancy Spero, Rebirth of Venus, print

Chapter 25: Postmodernity and Global Art

• urge to rebel against the norm lost impact when rebellion became normal

  • few rules left to break

Architecture

• Venturi and Scott-Brown, Learning from Las Vegas

  • urged archetects to study the local, vernacular, and tacky

• Michael Graves. Public Services Building. Portland, Oregon

• new shapes made possible by three-dimensional computer modeling

• today’s archetects try to make visually stunning buildings that fulfil function

• Thom Mayne and Morphosis. Gates Hall, Cornell University

Painting

• neo-expressionism

• Susan Rothenberg. Juggler with Shadows. 1987

• Anselm Kiefer. Osiris and Isis. 1985-87. Oil, acrylic, emulsion, clear, porcelain, lead, copper wire, and circuitboard on canvas

• Angela Bulloch. Betaville. 1994. Drawing machine with switch bench

Photography

• medium not objective as today’s cameras can lie

• Vik Muniz. Atlas (Carlão). 2008. From the series Pictures of Garbage. Photograph

Sculpture

• Exploration of the value of shape

• Anish Kapoor. To Reflect an Intimate Part of the Red. 1981. Pigment and mixed media. Instillation

• exploration of materials

• Rachel Harrison. This is Not an Artwork. 2006. Wood, polystyrene, cement, acrylic, table, fake vegetables, plastic surveillance camera, mannequin, wig, cowboy hat, stickers, and plastic KISS figure with drum

Public Art

• Art that responds to the needs and hopes of bread masses of people

• Buster Simpson. Instrument Implement. Walla Walla Campanile. 2008. William A. Grant Water and ENvironmental Center

• Street art

• Banksy. Stone Age Walter. 2006. Spray paint and stencils

• Keith Haring, Ignorance = Fear / Silence = Death: FIGHT AIDS ACT UP, 1989. Offset printed poster

Socially Consious Art

• many artists seek to link art to current social questions

  • limiting art to aesthetic matters provides a distraction from pressing problems

• Retna and Risk. Ocieans at Risk. 2011. Sprayed and brushed acrylic

• Barbara Kruger. Untitled (I Shop therefore I Am). 1987

Post-Internet Art

• art that responds to our current networked condition

  • may or may not use the Internet itself

  • show awareness of or comment on the Internet and social media

• Rafael Rozendaal. 15 05 10 IMDB. 2015

• Artie Vierkant. Image Object Thursday 4 June 2015 12:53 PM

The Global Present

• world united through internet, travel, mobile phones, and migration

• globalization of culture profoundly affects art

• Gajin Fujita. Street Fight. 2005. 24-karat gold leaf, spray paint, Mean Streak marker, and paint marker on wood-panel triptych

• El Anatsui. Sasa. 2004. Aluminum and copper wire

• Doris Salcedo. Plegaria Muda (Silent Prayer). 2008-10. Wood, mineral, compound, metal and grass. 166 units as installed at CAM, Fundação Calouste Gulbenkain, Lisbon, November 12,2011—January 22, 2012

• Ai Weiwei. Circle of Animals/Zodiac Heads. 2010. Bronze

• Art comes from basic feelings that all of us share

  • goes beyond mere physical existence

• docs