Mod + Contemp Art Quiz 2

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    Les Demoiselles D'Avignon, Pablo Picasso, 1906
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    Still Life With Chair Caning, Pablo Picasso 1912
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    Ma Jolie, Pablo Picasso 1911-12
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    Violin, Pablo Picasso 1912
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    Bottle of Vieux Marc, Glass, and Newspaper, Pablo Picasso 1913
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    Dynamism of a Dog on a Leash, Giacomo Balla 1912
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    Interventionist Demonstration, Carlo Carrá 1914
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    Hannah Höch, Cut with the Kitchen Knife..., c.1919
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    Filippo Tommaso Marinetti, Cover of Zang Tumb Tumb, 1914
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    Hugo Ball in his “Magical Bishop” costume, Zurich, 1916
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    • Marcel Duchamp, Fountain, 1917
    • Challenges:
    • - Authorship
    • - Originality
    • - Shock
    • - Art as insitution
    • - Bourgeois standards of art
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    • Marcel Duchamp,
    • 3 Standard Stoppages, 1913-15
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    John Heartfield, The Meaning of the Hitler Salute: Little Man Asks for Big Gifts. Motto: Millions Stand Behind Me!, 1932
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    • Georg Grosz, The
    • Pillars of Society, 1926
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    Aleksandr Rodchenko, Worker’s Club, 1925
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    • Amedee Ozenfant, Still
    • Life with Red Wine, 1921


    • Desired a
    • turning away from Cubism’s chaos towards architecture, order, and
    • self-discipline; objects as powerful forms; embrace of technology and the
    • machine
    • PURISM
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    • Andre Masson, Automatic Writing, 1924
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    • Andre
    • Breton and others, Exquisite
    • Corpse,
    • 1928
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    • Meret Oppenheim, Object:
    • Luncheon in Fur, 1936
    • Surrealists were fascinate by the way objects could
    • become containers of inner desires and fantasies


    • Object is so bizarre you couldn’t imagine using it;
    • functional object rendered completely dysfunctional both by artistic
    • application and by artistic context

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    • Rene Magritte, The Treachery of Images, 1928
    • Object lessons are vessels of truth. We depend on these to be truthful. This is not a pipe? The whole foundation of the
    • relationship between words and objects is destroyed. Thie image forces us to
    • reconcile this relationship, and throws the truthfulness of the relationship
    • into instability. This reflects
    • the time period where people were exploring the unconscious and reality and our
    • perception of reality. It is
    • interesting to think that without language, this work would be meaningless

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    • Alberto
    • Giacometti, Suspended Ball, 1930-31
    • Mixing of categories. The formless- the process of undoing form and category.
    • Two shapes propped on bed-like surface in cage. Ball and phallic crescent moon with
    • ball suspended above it in infinite caress to the point that a crevasse is
    • wedged into the ball. Ball is female and masculine in that it mimics female
    • genitalia but it is mounted onto of the ball. Phallic crescent is passive recipient of ball’s crevass, and also somewhat
    • mimics female vulvar shape. Shows a disobeying of boundaries,
    • undoes the stability of the masculine and feminine roles.
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    • Man Ray, Minotaur, 1934

    • Shows a doubling of a man and beast which is created by
    • an androgynous figure (actual model is woman). Also has headless form, and headless (acephale) is a
    • category/example of the formless






Author
nownownorunning
ID
104725
Card Set
Mod + Contemp Art Quiz 2
Description
slides for quiz 2
Updated