Chapter 15 globalism 20 and 21st century
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Chapter 15 globalism 20 and 21st century
- 1. GlobalismGlobalism The information Age Chapter 15 A Moving force in the evolution of globalism was satellite television, the internet, and colonialism.
- 2. MAYA LIN THE VIETNAM’S VETERANS MEMORIAL, (1982) •Names of the 57,939 Americans who were killed in the Vietnam War.
- 3. End of Colonialism Mohandas Gandhi (1869-1948) Peaceful protests against colonial oppression 1948 - assassinated - Hindu fanatic
- 4. Racial Equality Dr. Martin Luther King Jr. (1929- 1968) Protestant pastor and civil rights activist Assassinated in April 4, 1968 Oscar Graves, 1982, Dr. Martin Luther King Detroit MI
- 5. Betye Saar Attack on the icons of commercial white culture Betye Saar (1926– ), The Liberation of Aunt Jemima, 1972. Mixed media
- 6. Kara Walker liberation is an on going process Kara Walker (1969- ), A Work on Progress, 1998. Cut paper and adhesive, Installation Kara Walker (1969- ), Slavery! Slavery!, 2000Darkytown Rebellion ,2001
- 7. calls attention to controversial issues. Barbara Kruger, (b.1945) Barbara Kruger (1945– ), Untitled ("Your body is a battleground"), 1989. Photographic silkscreen on vinyl
- 8. JUDY CHICAGO THE DINNER PARTY, (1974-1979), 48 x 48 x 48ft.
- 9. Sexual Identity Aids Memorial Quilt, 1996
- 11. Ethnic Identity Shirin Neshat Rebellious silence “Women of Allah” 1994
- 14. Abstract Expressionism Made New York the center of the art world, and was often called the “New York School”.
- 15. “I have no fears about making changes, destroying the image… because the painting has a life of its own.” Jackson Pollock spontaneously dripped, splashed or smeared. Action Painting
- 17. spontaneously dripped, splashed or smeared. Willem de Kooning- Paris Review 1979 Action Painting Willem de Kooning, Woman I 1950-1952
- 18. Arshile Gorky - One Year the Milkweed 1944
- 19. Mark Rothko Red, Orange, Tan and Purple 1949
- 20. Once you “got” Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again. --Andy Warhol late 1950s and 1960s
- 22. Pop Artists used bold, flat colors and hard edge compositions adopted from commercial designs. Warhol, Campbell's Soup II, 1969, © AWF Warhol, Brillo Soap Pads Box, 1964, © AWF
- 23. Warhol, Three Coke Bottles, 1962, © AWF The pioneer figure in pop art was Andy Warhol. Warhol, Listerine Bottle, 1963, © AWF
- 24. Warhol appropriated (used without permission) images from magazines, newspapers, and press photos of the most popular people of his time Silver Liz [Ferus Type], 1963, © AWF ©2006 Life Inc. His works explore the relationship between artistic expression, celebrity culture and advertisement.
- 25. Warhol took common everyday items and gave them importance as “art” He raised questions about the nature of art: Knives, 1981, © AWF What makes one work of art better than another? Brillo Soap Pads Box, 1964, © AWF
- 26. Other Pop Artist: used new technologies and methods: Claes Oldenburg, Floor Burger 1962, © Claes Oldenburg
- 27. Pop Artists used common images from everyday culture as their sources. Roy Lichtenstein, Masterpiece, 1962
- 28. Robert Rauschenberg, Retroactive II, 1963
- 29. Audrey Flack, Marilyn, 1977, Oil over acrylic on canvas Influenced by realism in photography “I studied art history, it was always the photographs, I never saw the paintings, they were in Europe” Marilyn Monroe – references to her death (clocks, hourglass)
- 30. Chuck Close, Big Self-Portrait, 1967 – 1968, Acrylic on Canvas (8’11” x 11’2”) Large Scale Portrait Paintings based on Photographs
- 31. Duane Hanson, Supermarket Shopper, 1970, Polyester resin and fiberglass polychromed in oil with clothing, steel cart, and groceries “The subject matter I like best deals with the familiar lower and middle class American types of today.”
- 32. Christo and Jeanne-Claude, Running Fence (California, USA), Pink woven synthetic fabric, 1972 - 1976 Environmental art project Artists claim that the art has no meaning. Their goal is to create something beautiful and to see the landscape in a new way.
- 33. Robert Smithson, Spiral Jetty, 1970, Black rock, salt crystals, earth, red water (Utah, USA)
- 34. Keith Haring, Untitled, 1985, Mixed Media on Canvas Keith Haring (1958-1990) started by drawing in NY Subways (related to Grafitti art / Street Art)
- 44. The end!!!
Notes de l'éditeur
- Mohandas Gandhi (1869-1948) – Hindu, led India’s struggle for independence from Great Britain. Peaceful protests against colonial oppression Followers were called “Mahatma” or ”great souls” His program of nonviolent resistance, including fasting, and peaceful demonstrations, influenced subsequent liberation movements throughout the world. 1947 India’s independence, one year later he was assassinated by a Hindu fanatic who opposed his conciliatory gestures toward India’s Muslim minority.
- Protestant pastor and civil rights activist who modeled his campaign of peaceful protest on the example of Gandhi. As president of the Southern Christian Leadership Conference, King served as an inspiration to all African –Americans.
- political and social protest Betye Irene Saar (July 30, 1926 in Los Angeles, California) is an American artist, known for her work in the field of assemblage. Her education included a time at the University of California, Los Angeles, from where she received a degree in design in 1949, and graduate studies in printmaking and education at Pasadena City College, California State University, Long Beach, from 1958 to 1962. Her interest in assemblage was inspired by a 1968 exhibition by Joseph Cornell, though she also cites the influence of Simon Rodia's Watts Towers, which she witnessed being built in her childhood.[1] She began creating work typically consisting of found objects arranged within boxes or windows, with items drawing on various cultures reflecting Saar's own mixed heritage (African, Native American, Irish and Creole).[1] In the late 1960s Saar began collecting images of Aunt Jemima, Uncle Tom, Little Black Sambo, and other stereotyped African American figures from folk culture and advertising. She incorporated them into collages and assemblages, transforming them into statements of political and social protest. In the 1970s Saar shifted focus again, exploring ritual and tribal objects from Africa as well as items from African American folk traditions. In new boxed assemblages, she combined shamanistic tribal fetishes with images and objects intended to evoke the magical and the mystical. When her great-aunt died, Saar became immersed in family memorabilia and began making more personal and intimate assemblages that incorporated nostalgic mementos of her great aunt’s life. She arranged old photographs, letters, lockets, dried flowers, and handkerchiefs in shrinelike boxes to suggest memory, loss, and the passage of time. In the early 1980s Saar taught in Los Angeles at the University of California and the Otis Art Institute now called Otis College of Art and Design. In her own work she began using a larger, room-size scale, creating site-specific installations, including altar-like shrines exploring the relationship between technology and spirituality, and incorporating her interests in mysticism and Voodoo. Pairing computer chips with mystical amulets and charms, these monumental constructions suggested the need for an alliance of both systems of knowledge: the technical and the spiritual. Saar was a part of the black arts movement in the 1970s, challenging myths and stereotypes. In the 1990s, her work was politicized while she continued to challenge the negative ideas of African Americans. One of her better-known and controversial pieces is that entitled “The Liberation of Aunt Jemima.” It is a “mammy” doll carrying a broom in one hand and a shotgun in the other, and placed in front of the syrup labels. Her work began with found objects arranged in boxes or windows. The items would reflect her mixed ancestry. Her ancestry is a mixture of African-American, Irish, and Native American. She married a white ceramist and conservator. Betye Saar continues to live and work in Los Angeles. Saar is the mother of two artists, Alison Saar and Lezley Saar. She has been awarded honorary doctorate degrees by California College of Arts and Crafts, California Institute of the Arts, Massachusetts College of Art, Otis College of Art and Design, and San Francisco Art Institute.
- Used a more subtle and complex approach to matters of race Walker was born in Stockton, California.[1] Her retired father is a formally educated artist, a professor, and an administrator.[1] Her mother worked as an administrative assistant. [edit] Career Some of Walker's exhibitions have been shown at The Apartheid Museum in Johannesburg, The Renaissance Society in Chicago, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the Walker Art Center in Minneapolis, the Modern Art Museum of Fort Worth, and the Museum of Contemporary Art in Chicago. Walker has also been shown internationally and featured on PBS. Her work graces the cover of musician Arto Lindsay's recording, Salt (2004). Walker has produced works in ochre gouaches, video animation, shadow puppets, and "magic-lantern" projections, as well as a number of black-paper silhouettes,[2] perhaps her most recognizable works to date. Walker's silhouette images work to bridge unfinished folklore in the Antebellum South, raising identity and gender issues for African American women in particular. However, because of her confrontational approach to the topic, Walker's artwork is reminiscent of Andy Warhol's Pop Art during the 1960s (indeed, Walker says she adored Warhol growing up as a child). Her nightmarish yet fantastical images incorporate a cinematic feel. Walker uses images from historical textbooks to show how African American slaves were depicted during Antebellum South. Some of her images are grotesque, for example, in The Battle of Atlanta, [3] a white man, presumably a Southern soldier, is raping a black girl while her brother watches in shock, a white child is about to insert his sword into a nearly-lynched black woman's vagina, and a male black slave rains tears all over an adolescent white boy. Walker debuted a public exhibition at the The Drawing Center in New York City in 1994. Her installation Gone: An Historical Romance of a Civil War as it Occurred between the Dusky Thighs of One Young Negress and Her Heart "polarized the New York art world".[4] In 1997, Walker—who was 28 at the time—was one of the youngest people to receive a MacArthur fellowship.[5] There was a lot of criticism because of her fame at such a young age and the fact that her art was most popular within the white community. In response to Hurricane Katrina, Walker created "After the Deluge," since the hurricane had devastated many poor and black areas of New Orleans. Walker was bombarded with news images of "black corporeality," including fatalities from the hurricane reduced to bodies and nothing more. She likened these casualties to African slaves piled onto ships for the Middle Passage, the Atlantic crossing to America. “ I was seeing images that were all too familiar. It was black people in a state of life-or-death desperation, and everything corporeal was coming to the surface: water, excrement, sewage. It was a re-inscription of all the stereotypes about the black body.[6]
- Aware of the extent to which commercialism shapes identity, she creates photographs that deftly unite word and image to resemble commercial billboards. The artist calls attention to the controversial issue of abortion in contemporary society
- A room-sized sculpture consisting of a triangular table with 39 place settings, each symbolizing a famous woman in myth or history. The feminist counterpart of the Last Supper, pays homage to such immortals Nefertiti, Sappho, queen Elizabeth 1, and Virginia Woolf.
- Represents the movement for body-conscious politics and socially responsible art that animated the last decade of the 20th century.
- Abstract Expressionism is a painting movement in which artists typically applied paint rapidly, and with force to their huge canvases in an effort to show feelings and emotions. non-geometrically, sometimes applying paint with large brushes, and looks as if to be an accident but is really quite planned. European Surrealists obtained their notion of the unconscious mind, from Sigmund Freud. Many Americans at this time, derived Carl Jung’s theory- the “collective unconscious” holds that beneath ones private memories, is a store house of feeling and symbolic thoughts. With all the European influence, Abstract Expressionists sought universal themes within themselves.
- Artists wanted to establish their independence from European surrealists and other art trends. Abstract Expressionism was the first art movement to influence artists over seas, rather than vice versa. Abstract Expressionism is a painting movement in which artists typically applied paint rapidly, and with force to their huge canvases in an effort to show feelings and emotions. non-geometrically, sometimes applying paint with large brushes, and looks as if to be an accident but is really quite planned. European Surrealists obtained their notion of the unconscious mind, from Sigmund Freud. Many Americans at this time, derived Carl Jung’s theory- the “collective unconscious” holds that beneath ones private memories, is a store house of feeling and symbolic thoughts. With all the European influence, Abstract Expressionists sought universal themes within themselves.
- European artists began moving to America during WW II. The main result of the new American fascination with Surrealism was the emergence of Abstract Expressionism. Produced in New York roughly between 1940-1960.
- One of the two techniques for Abstract Expressionism was known as Action Painting. A pioneer in Abstract Expressionism. Tried to capture energy and emotion through Action Painting. Alternated between abstract and figural painting. Blended traditional forms, with a sense of uncertainty
- Arshile Gorky was the artist to put this movement into motion, because his art ideals were obtained from Surrealism, Picasso, and Miro. Emphasized the depiction of emotion’s rather then objects. Paintings consisted of shapes, lines, and forms meant to create a separate reality from the visual world. 3 Factors in work of the 1940’s Intense childhood memories of Armenia, prime subject matter. Growing interest in Surrealism. Many discussion with colleagues about Jungian ideas. Jungian analysis is a specialized form of psychotherapy in which the Jungian analyst and patient work together to increase the patient’s consciousness in order to move toward psychological balance and wholeness.
- Asymmetrical blocks of color, and painted the edges of his canvases, then displayed them without frames. Titles were unimaginative leaving the interpretation up to the viewer.
- from Abstract Expressionism which was the “in” style of art in the 50s. The Abstract Expressionist evoked emotions, feelings and ideas through formal elements such as: Line Color Shape Form Texture
- Billboards Murals Magazines Newspapers Pop Art was an art movement in the late 1950s and 1960s that reflected everyday life and common objects. Pop artists blurred the line between fine art and commercial art.
- “Pop Artists did images that anybody walking down the street could recognize in a split second…all the great modern things that the Abstract Expressionists tried so hard not to notice at all.”—Gretchen Berg. Pop art was appealing to many viewers, while others felt it made fun of common people and their lives. It was hard for some people to understand why Pop Artists were painting cheap, everyday objects, when the function of art historically was to uphold and represent culture’s most valuable ideals. Andy Warhol From Wikipedia, the free encyclopedia Jump to: navigation, search For the song by David Bowie, see Andy Warhol (song). This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (July 2011) Andy Warhol Andy Warhol by Jack Mitchell Birth name Andrew Warhola Born August 6, 1928Pittsburgh, Pennsylvania, U.S. Died February 22, 1987 (aged 58)New York City, New York, U.S. Nationality American Field Printmaking, Painting, Cinema Training Carnegie Mellon University Movement Pop art Works Chelsea Girls (1966 film)Exploding Plastic Inevitable (1966 event)Campbell's Soup Cans (1962 painting) Andy Warhol (August 6, 1928 – February 22, 1987) was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became a renowned and sometimes controversial artist. His works explore the relationship between artistic expression, celebrity culture and advertisement. He worked in a range of media, including painting, printmaking, sculpture, film, and music. He founded Interview Magazine and was the author of numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. Andy Warhol is also notable as a gay man who lived openly as such before the gay liberation movement. His studio, The Factory, was a famous gathering place that brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities, and wealthy patrons. Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame". In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum celebrates his life and work. The highest price ever paid for a Warhol painting is US$100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market".[1] Warhol's works include some of the most expensive paintings ever sold.
- Andy Warhol was one of the most famous Pop Artists. Part of his artistic practice was using new technologies and new ways of making art including: Photographic Silk-Screening Repetition Mass production Collaboration Media events Warhol used the repetition of media events to critique and reframe cultural ideas through his art
- Mass production Fabrication Photography Printing Serials
- Advertisements Consumer goods Celebrities Photographs Comic strips
- Acrylic Paints Plastics Photographs Fluorescent and Metallic colors
- Still Life “Vanitas” painting - symbolism relating to “emptiness” Airbrushed (commercial photo retouching tool)
- Avoided creative compositions, flattering lighting, and facial expressions
- Stereotypical “average” Americans Sculptures sometimes mistaken for real people Made plaster molds from real people
- 5.5 meters high 40 Kilometer long nylon fence Money raised by selling their preliminary drawings
- Manipulated the earth the create an environmental sculpture “enduring power of nature” Inspired by the location and the molecular structure of salt crystals that coat the rocks Spiral Jetty under water
- Keith Haring friends with Andy Warhol East-Village New York style Art for “the people” THE END.