ART AFTER WWII
ABSTRACT EXPRESSIONISM “action painting”
MINIMALISM, CONCEPTUAL ART
POP-ART, OP-ART
Jackson Pollock, Lavendar Mist No. 1, 1950
compare
p. 420
Willem de Kooning
Woman VI
1953
ABSTRACT
EXPRESSIONISM
Willem de Kooning
Excavation
ABSTRACT
EXPRESSIONISM
Rothko
Untitled
1948
MARK ROTHKO
Untitled, 1968
“color-field
painting”
not in text; compare
p. 421,
Rothko Chapel
MARK ROTHKO
No. 10, 1950
"We favor the simple
expression of the
complex thought. . . .
We are for flat forms
because they destroy
illusion and reveal truth."
“color-field
painting”
Rothko
Rothko
Clyfford Still, 1957, No.1
''What you see is what you see''
– Frank Stella, 1966
Frank Stella, Wolfeboro II,
1966
“post-painterly
abstraction”
Frank
Stella,
Raqqa
II,
1970
Harran II,
1967
“post-painterly
abstraction”
Joseph Albers
Homage to the Square, Red Series
1968
minimalism
“post-painterly
abstraction”
Kenneth Noland, Thrust, 1963
45 x 45 in.
POP-ART
Andy Warhol,
Orange Disaster
No. 5, 1963
compare
p. 422
Andy Warhol
(1928-1987)
Andy Warhol
(1928-1987)
Andy Warhol
(1928-1987)
1987
“What is an
author?”
-- Roland Barthes
Lichtenstein, Roy
Whaam!
1963
172 x 269 cm (68 x 106 in.) (two canvasses)
POP-ART
Victor Vasarely Hungarian, born 1908
Vega-Nor, 1969
Oil on canvas, 78 3/4 x 78 3/4"
OP-ART
a democratic form of art that everyone could
understand, not just those with certain types of
educational backgrounds and experiences. Op Art
serves that goal well. There is no story to tell, history
to know, or symbolism essential to the work’s
comprehension
Johns, Jasper
Three Flags
1958
Encaustic on canvas
30 7/8 x 45 1/2 x 5 in
Jasper Johns
0 through 9
1961
Jasper Johns,
Map, 1963
Jasper Johns
Painted Bronze
CONCEPTUAL ART
Walter De Maria
The Broken Kilometer
The Broken Kilometer, 1979, located at 393 West Broadway in New
York City, is composed of 500 highly polished, round, solid brass
rods, each measuring two meters in length and five centimeters (two
inches) in diameter. The 500 rods are placed in five parallel rows of
100 rods each. The sculpture weighs 18 3/4 tons and would measure
3,280 feet if all the elements were laid end-to-end. Each rod is placed
such that the spaces between the rods increase by 5mm with each
consecutive space, from front to back; the first two rods of each row
are placed 80mm apart, the last two rods are placed 580 mm apart.
Metal halide stadium lights illuminate the work which is 45 feet wide
and 125 feet long.
Spiral Jetty
textbook p. 436
Robert Smithson
Spiral Jetty, 1970
Spiral Jetty
Spiral Jetty, 2003
and then one day . . .
all the isms
became wasms
- Robert Hughes
PostModernism
Everything is post these
days, as if we’re all just a
footnote to something
Atwood
quote
earlier that was real
enough to have a name of
its own.
Elaine Risley, the main character in Cat’s Eye, a
novel by Margaret Atwood, 1988
Attention, shoppers. From within the
inverted
commas of a strambotto, seditious
whispering
watermarks this time of day. Time to get
Ashbery quote
out
and, as they say, about.
From a poem, “Where Shall I Wander,” by John
Ashbery, pub. 2005
Destabilizes
The idea of the artwork as an autonomous or
independent object
Interrogates
The idea of art history as a narrative and as a
narrative of progress
in other words . . .
CHARACTERISTICS OF POST-MODERNISM:
• QUOTATION, PASTISHE, COLLAGE
• CHALLENGES AUTHORITY OF “MASTER”
NARRATIVE – “contingency”
trying to
fire the
canon . . .
• FOCUSES ON THE “CONSTRUCTED-NESS” OF
NARRATIVE, AUTHORITY, REALITY
(“deconstruction” is not just analysis)
see p. 431
James Rosenquist
Vestigial Appendage, 1962
Oil on canvas, 72 x 93 1/4 in.
POP-ART
James Rosenquist American, born 1933
Nomad, 1963
Oil on canvas, plastic, and wood, 90 x 141"
POP-ART
James Rosenquist
Welcome to the Water Planet
1987
POP-ART
James Rosenquist, Sight-seeing, 1962
POP-ART
Rauschenberg, Robert
Monogram
1955-9
Freestanding combine
42 x 64 x 64 1/2 in
p. 422
extravagant
intertextuality
“”
Tansey, Mark
Derrida Queries de Man
1990
Oil on canvas
83 3/4 x 55 in.
Resembles a wellknown illustration of
Sherlock Holmes locked
in a struggle with the
evil Professor Moriarty
(vernacular art quotation)
Durand, Asher
Kindred Spirits
1849
Oil on canvas
46 x 36 in
Hockney, David
Model with Unfinished Self-Portrait
1977
Oil on canvas
60 x 60 in.
Velazquez,
Las Meninas,
1656
Vermeer,
The Allegory of
Painting,
c. 1665-70
Cindy Sherman
Cindy Sherman
Cindy Sherman
SELF-CREATION OR THE
CREATION OF SELF
THOURH MEDIA IMAGES?
“De-centered self”
A sort of Performance art
POMO: meaning is derived
not from individual images,
but their relationship to
each other and to mass
culture & other media
p. 440
Judy Chicago
The Dinner
Party
HERSTORY
Judy Chicago
MEDIUM?
Judy Chicago
Emily Dickenson
Isabella d'Este, Renaissance
noblewoman
Mao Tse-tung
“A revolution is not a dinner party, or writing an
essay, or painting a picture, or doing embroidery;
it cannot be so refined, so leisurely and gentle, so
temperate, kind, courteous, restrained and
magnanimous. A revolution is . . . an act of
violence.”
Building as sculpture –
Sydney Opera House
Utzon, built 1959-1972!!!
ARCHITECTURE
1ST field to use term
(1946)
Famous text: Learning
From Las Vegas
A return to
ornamentation, but with
quotation marks & a
wink
Michael Graves
Pointless columns
Michael Graves
faux smokestacks
“Porthole” windows
U of Cincinnati
Michael Graves
compare
p. 434
Atlanta
10 Peachtree Place
Michael Graves
p. 434
Portland Bldg
Michael Graves
p. 434
Portland Bldg
Frank Gehry, Disney Concert Hall
compare p. 443
Frank Gehry, Disney Concert Hall
Frank Gehry, Disney Concert Hall
Diamond Ranch High School, Morphosis
Hypo Alpe-Adria Center in Klagenfurt, Austria, MAYNE, 2002
and now the return of . . .
EVERYTHING
Still life – example artist: Janet Fish
Still life – example artist: Janet Fish
Figurative art
Pearlstein,
Philip
Two Models on
a Kilim Rug
with Mirror
1983
Oil on canvas
90 x 72 in.
Portraiture
John Wulp, Sigourney, Charlotte, and Petals
Sharpe Center, Toronto
even Modernism!
AlliedWorks
Portland, OR
Carus residence, Illinois
Brininstool & Lynch
Getty Museum
Los Angeles, 1997
Richard Meier, architect
A MIGHTY FORTRESS
FOR MODERNISM
Getty Museum
Los Angeles, 1997
Richard Meier, architect
Getty Museum
Los Angeles, 1997
Richard Meier, architect
Andy Goldsworthy
Knotweed Stalks Pushed into Lake Bottom
February 20 and March 8-9, 1988
Derwent Water, Cumbria
© Andy Goldsworthy
Andy Goldsworthy
Ends of Bamboo
November 1987
Kinagashima-Cho, Japan
© Andy Goldsworthy
Andrew Goldsworthy
Daniel Libeskind
1776’ tower
Libeskind WTC design
SUMMARY – POST WWII
MODERNISM CONTINUES – PROGRESS &
MATERIALS; EACH WORK OF ART DICTATES ITS
OWN TERMS [POLLOCK, abstract expressionism]
CONCEPTUAL ART – ULTIMATE CHALLENGE TO THE
VERY IDEA OF ART, THE ULTIMATE CONCLUSION OF
MODERNISM? [SMITHSON Spiral Jetty]
POST-MODERNISM – QUESTION NARRATIVE!
[CHICAGO The Dinner Party]
Jackson Pollock, Lavendar Mist No. 1, 1950
compare
p. 420
textbook p. 436
Robert Smithson
Spiral Jetty, 1970
p. 440
Judy Chicago
music summary
ORDER & CHAOS
• SURFACE CHAOS/INNER ORDER:
Rite of Spring; serialism
• SURFACE ORDER/INNER ORDER:
minimalism (Reich, Music for 18)
• SURFACE CHAOS/INNER CHAOS:
chance methods (John Cage)