20th Century Final

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    • Jean Arp
    • Collage Arranged According to the Laws of Chance, 1916-17. Torn and pasted paper.
    • Zurich Dada.

    Not really chance, since the arrangement seems to be pretty uniform. More like a tribute to the laws of chance, it *suggests* the concept of chance.
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    • Hannah Höch
    • Cut With Kitchen Knife, 1919-20
    • Photo-collage/photomontage.
    • Berlin Dada.

    Satirical panorama of Weimar society. Includes photographs of her Dada colleagues, communist leaders, dancers, sports figures, and Dada slogans in varying typefaces. Gears and wheels both a tribute to technology and a means of imparting a sense of dynamic, circular movement. Female imagery in work demonstrates interest in the new roles of women in postwar Germany.
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    • Otto Dix
    • Dr. Mayer-Hermann, 1926.
    • New Objectivity.

    Laryngologist. Though the painting includes nothing bizarre or extraneous, the overpowering confrontation gives a sense of the unreal. the term "magic realism" was coined: mode of representation that takes on an aura of the fantastic bc commonplace objects are presented with unexpectedly exaggerated and detailed forthrightness.
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    • Max Ernst
    • Two Children are Threatened by a Nightingale, 1924. Oil on wood with wood construction.
    • Surrealism.

    Anxiety or threat, misplaced emotion...social/political commentary: the owmen are panicing about the nightingale, which is harmless, while a child is being abducted.
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    • Andre Masson
    • Battle of Fishes, 1926. Sand, Gesso, oil, and charcoal on canvas.
    • Surrealism.

    Pure psychic automatism and sand technique (freely applying adhesive to the canvas, throwing sand over the surface and brushing away the excess. Then added lines and small amounts of color based on forms the artist saw in the sand.) Relates to the sadism of human beings and the brutality of living things.
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    • Salvador Dali
    • Accomodations of Desire, 1929. Oil and Collage on Panel.
    • Surrealism.

    Lions represent desire, ants represent death and decay. Expressive of his courtship of Gala, who was still married to Paul Eluard at the time.
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    • Edward Hopper
    • Early Sunday Morning, 1930.
    • American Regionalism.

    Captures the calm and quiet eerieness of human absence. Perhaps before people have woken up? Red and green are a nod to Van Gogh and Gaugin. Flat facade and dramatic lighting linked to Hopper's interest in stage set design.
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    • Pablo Picasso
    • Guernica, 1937.

    Inspired by the destruction of the Basque town of Guernica during the Spanish Civil War. Painted for the Spanish Republican Pavilion of the Paris World's Fair. Picasso supported the Republicans in their fight against the facist General Francisco Franco.
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    • Francis Bacon
    • Painting, 1946.

    The images supposedly emerged by accident. He was attempting to create a bird alighting on a field, but the lines seemed to suggest and entirely different picture, and this painting arose. Some guess that the figure resembles despots such as Mussolini. In general is meant to universally depict ruthless, predatory power.
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    • Jackson Pollock
    • Number 1, 1950 (Lavender Mist), 1950.
    • Abstract Expressionism.
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    • Willem de Kooning
    • Painting, 1948. Enamel and oil on canvas.
    • Abstract Expressionism.

    Contains certain recognizable forms like a hat and glove at the upper right. Subsumed figurative references within rhythmically flowing lines, creating forms that function as his characteristic shorthand for the human body.
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    • Andy Warhol
    • Marilyn Monroe, 1962. Silkscreen, synthetic oil, and acrylic on canvas.
    • Pop Art.]

    Warhol let the layers of silkscreen colors to register imperfectly to underscore the mechanical nature of the process.
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    • Carl Andre
    • Lever, 1966. Fire bricks.
    • Minimalism.

    Direct interaction between the audience and the artwork sharpens awareness of the environment, making the piece as much about one's physical orientation as about the visual pattern created by the tiles.
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    • Robert Smithson
    • Spiral Jetty, 1969-70.
    • Earthworks.

    Periodically disappears and reappears amidst the changing water levels of the Great Salt Lake.
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    • Joseph Kosuth
    • One and Three Chairs, 1965. Mixed Media. Conceptual Art
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    • Robert Colescott
    • George Washington Carver Crossing the Delaware. 1975.
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    • Cindy Sherman
    • Untitled Film Still # 35, 1979.
    • Postmodernist.
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    • Richard Prince
    • Untitled (Cowboy), 1991-92.
    • Appropriation.
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    • Peter Halley
    • Two Cells with Circulating Conduit, 1985.
    • Neo-Geo.
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    • Lorna Simpson
    • Guarded Conditions, 1989. Color Polaroid prints and plastic plaques.
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    • Chuck Close
    • Self-Portrait, 1991.
    • Photorealism.
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    • Damien Hirst
    • The Physical Impossibility of Death in the Mind of Someone Living, 1991.
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    • Jeff Wall
    • A Sudden Gust of Wind (After Hokusai), 1993.
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    • Kerry James Marshall
    • Better Homes, Better Gardens, 1994.
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20th Century Final
pretentious modernistic artsy bullshit