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Henri Matisse, Blue Nude , 1907 Primitive – interest, traveled to Africa; sense of pastoral relaxation in oasis; blue as adventure and exotic; Ernst Ludwig Kirchner, Street, Dresden , 1908 Anti-modern in distortion of city life; perspective and color distortion; Franz Marc, Fate of the Animals , 1913 Reunion w/ natural world- animals more perfect than modern human; correspondence between colors and feelings/ideas (fauves w/ purpose); forest angular, broken into geometric shapes; Pablo Picasso, Les Demoiselles d’Avignon , 1907 Crisis of representation- questioning the idea of making a picture; not spontaneous or purely formal; gender change for sailor and med student; no narrative; figures do not interact with anyone but the spectator; frightening figures to make viewer aware of exposure; not inviting like other nudes, viewer feels exposed and uncomfortable; apotropaic; illusionist pictorial: space is a question Pablo Picasso, Violin , 1912 Semiotics- science of signs; cubists building up forms; papier colee (pieces of paper on canvas); objects functioning in multiple ways; signifier (object or marks)
- signified (meaning or concept) = sign; synthetic cubism; arbitrary sign: functional signs- relationship based on what the other one is not; meaning constructed in society;
Giacoma Balla, Dynamism of a Dog on a Leash , 1913 Inspired by kinesthesia in film; mimicry of technology; Marcel Duchamp, Fountain , 1917 Signed, yet readymade (just purchased); no longer functional; nominating; artistic subjectivity: negates skill, creativity, originality; only piece unaccepted in art show; art if not made? Utilitarian if not usable? Marcel Duchamp, Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915- Glass, paint, lead filament, etc.; artistic subjectivity; shattered: finished by “chance”, not artist; highly geometric and linear; mechanomorphism: making humans look like machines, machines with human qualities; mechanical relationship; human desire made mechanical; role of skill and intention? Hannah Höch, Cut With the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany , 1919 Photomontage; semiotics; connection to mass culture and modes of production; layouts translate to graphic design; modernity; multi-meaning; all signified w/out meaning until you analyze them; deteriorating, decay of mass culture; Lumiere brothers, Arrival of a Train at La Ciotat , 1895 Love of movement, instant, spontaneous, real; one of first motion pictures; connection of film and other arts; technological medium to show technology;
Edward Hopper, Nighthawks , 1942 American Scene Painters; social conditions concern; depict the easily accessible; anti-modernism (not democratic); what America is supposed to be about; rejection of abstraction; style resonates w/ content; viewer distanced by window; desolate street vs. warmth, light of café; geometric, abstract influence Walter Gropius, Shop block, Bauhaus, 1925- Bauhaus mode of education; started Bauhaus; guilds (schools) apprentices (students); Weimar benefactor; truth to materials, industry, process, construction; interest in technology; Jackson Pollock, Number 1. 1950 (Lavender Mist), 1950 Autographic mark: personality of artist, affirmation of the ego; spontaneous, but intentional; homeless representation; alloverness; color, space, opticality; denial of entrance to the painting, surface only; area of competence: duty of art to determine its specific qualities, things it does best; Jasper Johns, Flag , 1954- Flatness; alloverness; unity of support and image; read representationally or abstractly; Andy Warhol, Marilyn Diptych , 1962 Empties image of meaning through duplication; simulacral reading; referential reading; traumatic realism; depicted at time of tragedy; Donald Judd, Untitled , 1969 Logic of materials; motivating idea of non-relational (unitary shape, specific object); minimalism; meaning as context; contructivism; readymade;
Eva Hesse, Hang Up , 1966 -suggests the body in a non-figurative way; suggest carnality, desire; part object; painting is bound and has a problem; empty frame, no function; reaches out into space to viewer; postminimalism; logic of materials; field effect: unites sculptural object into process and environment; eccentric abstraction: emotive and erotic alternative to minimalism; part object: suggests body in non-figurative way; Judy Chicago, The Dinner Party , 1979 Second phase; making a place at the table for women; last supper connotation; separate and feminine space; acknowledge contributions of women; recovery of domestic forms of art practice; Cindy Sherman, Untitled Film Still #35 , 1979 Third phase feminism; critique of representation; impersonating film styles; questions stable self; film still simulacrum: copy of something that didn’t exist; feminine self built to be looked at; Krzysztof Wodiczko, The Homeless Projection , 1986 Politics of representation; subvert symbols and media images; counter official stories with underlying realities; war monument w/ projections of homeless people; national pride and achievement vs. poverty and hunger
