Abstract Express, Pop, Minimalism, Land Art, Feminism

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    • Jackson Pollock, Autumn Rhythm: Number 30, oil/enamel/canvas. 1950
    • described as chaotic but Pollock saw as labyrinths that led the viewer along complex paths and into an organic calligraphic web of natural and biomorphic forms, heroic scale, action painting, became an american symbol during WWII subject matter: the acutal process of painting laying on the paint, stlye: gesture abstraction, action painting, all over painting, limited color pallette, paint soaked into canvas becomes one with the canvas not everything is just resting on top of surface
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    • Mark Rothko, Lavender and Mulberry, oil/canvas. 1959
    • color field painting, influence by European Surrealists and Jung, vary large canvas with rectangular shapes arranged in a vertical format in which he allowed his colors to bleed into one another, thought of his shapes as fundmental ideas expressed in rectangular form, preferred to show his paintings together in seris or rows and lit indirectly to evoke moods of transcendetal meditation, color has meaning, about large abstraction expressions, leaves door open for people to perseve different emotions, doesn't use blocked form lets loose to push and pull, considers self a representational painter, influenced by Turner
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    • Helen Frankenthaler, Mountains and Sea, oil/charcoal/canvas. 1952
    • influenced by Pollock, action painting, worked on floor but poured paint onto an unprimed canvas in thin washed so that the paint would soak into the fabric, described her process as starting with an aesthic question or image and evolving as the process of painting took over as a self-expressive act, poured several colors onto the canvas and outlined selected forms in charcoal, reminded her of the coast of Nova Scotia, rural subject matter, soak stain, head own mini movement with her style, demterialized imagine more so than Cezanne
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    • Jasper Johns, Target with Four Faces, encaustic on canvas. 1955
    • both a painting and a sculpture, casting heads parodying the nonhierarchiacal manner of Abstract E, target hierachical, flatness of the painted target suggests an all over composition, makes reference to pop culture and world around Johns, purpose of inclusion unclear, emotionally cool and highly cerebal, reintroduced readly recognizable real world objects but strategically recontextualized images and objexts in order to question the form appereance content and meaning of art, image of something/representation, signs and icons, but in primary colors, action painting with readymade subject matter, with Ruaschenburg pushed art, between abstraction and pop, in abstract expressionist form
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    • Andy Warhol, Marilyn Diptych, synthetic polymer paint/silkscreen/oil/canvas, 1962
    • made after Monroe's death, used a famous publicity photograph transferred to silkscreeen, flat and bland so that her signature features stand out, diptych thus evokes religious connotations, grided images, color versus black and white, funeral monument, each image is repeated but each individualized multiple verisons of Monroe, wants to be machine like, takes pubilicity shot of Monroe ready made, interest in death and deseaster.
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    • Donald Judd, Untitled, Lacquer on Galvanized Iron. 1967
    • argued that minialism should consit of real or specific objects, mathmatically constructed shapes arranged without hierarchy which could be read as complete objects at a single glance, occupied space of real things, no base below or glass around it, 12 indentical rectangles made from galvanized iron and hung vertically, arrangement deliberately impersonal to avoid illusion of any imagined subjects, "visual facts", sets conceptual clarity and physical perfection of his art against the messy complexity of the real world, intelligectually engaged, writes alot, sent to workshop to create cubes then assembled on site at gallery, proportions to excate detail, platonic perfect forms, called work "specific objects" people have a hard time understanding but one needs to study and figure it out but it is about instant perception, phenomenology: study of being and experience to describe and experience the things themselves as they appear in the everyday world, how they change the space you entered, believes painters are dellusioned and sculpture is the way to go, Critique: that these are just illustionistic as paintings, use of industrial matters set off masculinty, actually really colorful works
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    • Robert Smithson, Spiral Jetty, rock, saly, earth, Great Salt Lake, Utah. 1970
    • 1500 foot spiraling earthen jetty that extends into the Great Salt Lake, to Smithson the Great Salt Lake represented both a primordial ocean that cultivated life and a dead sea that killed it, supposed to remind viewers of the remains of ancient civilization, incorporated an alga that turns red, used spiral because it is an essential shape to nature and has been used in art for millenia, ordered no maintainence be done he wanted it to be goverened by the natural elements overtime, illustrate the ongoing dialetic in nature between constructive and deconstructive forces, now covered with crystallized salt, critique on institutions museums and galleries by making work outside institutions that can't be contained, made in the middle of nowhere, monumental forms, not about being environmentalist, changes the land, connected to anceint art and scientific ideas, within spiral the water heats up fast making the alga turn red, submerged for a time and when reemgered it was covered by crystalized salt
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    • Judy Chicago, The Dinner Party, mixed media installation. 1979
    • large complex mixed media installation dedicated to hundreds of women/artists, took 5 years with collaborative effort to complete, composed of a large triangular table each side 48 ft, equilateral triangle Chicago thought symbolized the feminine and the equalized world sought by feminism, floor is 2300 triangular porcelian tiles = "The Heritage Floor" bearing the names of 999 notable women from myth, legend, and history, each side of the table has 13 place settings of famous women (same number of jesus and his 12 apostles), each setting has a 14in wide painted porcelian plate ceramicflatware a cermaic chalice with gold interior and an embrodied napkin that dits upon a ornameted runner designed to the motif of the time and place that the woman lived, plates featured an abstract design based on female genitalia (what all women have in common), celebrates traditional women's craft and argues for their place in the pantheon of high art, during the second wave of feminism, asserts that she can create herself changed name, all the women mentioned are dead, researched women and renamed them, shows that women were in history, plates become more complex as the travel through time more 3d, center core image - vaginal images, for decades it was stored away
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    • Claes Oldenburd, Lipstick (Ascending) on Caterpillar Tracks,
    • ironic critiques of the new consumer culture but turned subjects into sculptural monuments, made for his alma mater at Yale University commissioned by grad students from the School of Arch who wanted a monument to the Second American Rev when students demonstarted against Vietname War, suggests the warlike aggression of a mobile missile launcher and the eroticism of lipstick, play on slogan "make love, not war"
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    • Richard Hamilton, Just What is it that makes today's homes so different, so appealing?, collage. 1955
    • critiques advertising stratigies by imitarting them, Adam and Eve almost nude, Adam is now a body builder and Eve is a pin up girl, temptations are consumer culture, comments on the visual overload of the 1950s and on culture's inability to differentiate between important and trival images or between the advertising world and the real world, pop beings in Britian in exhibition called "This is Tomorrow", sets up key concerns for pop art, gender roles, domestication, language of advertisment included, woman a lamp, blow pop, influenced by collage of dada and cubism
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    • Joseph Beuys, How to Explain Pictures to a Dead Hare
    • artist sat in chair in gallery surrounded by his work face coated with honey and gold leaf muttering to a dead hare, left foot on felt = spiritual warmth, right foot on steel = cold hearted reason, queitly explained his pictures to hare, he had as much of a chance of communicating hully with a dead hare as with another person, shows visible problems inherent into the normal means of communication, "Even a dead animal perserves more power of intution than some human beings"
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    • Faith Ringgold, Tar Beach
    • narrated by a woman and usually adresses women's issues, narrator is 8 year old Cassie Lousie Lightfoot based on Ringgold's own memories of growing up in Harlem, roof of an apartment building, Ringgold described as a magical place, Cassise lays on a blanket with her brother while their parents play cards, dreams that she can fly and posses everything over which she passes: George Washington bridge, new union-construction building, and ice cream factory, reminds viewer of the real social and economic prejudices that AA had to face
Card Set
Abstract Express, Pop, Minimalism, Land Art, Feminism
Campbell Exam 3 Part 4