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Lecture

Week 12: Art After 1980s II

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Department
Art
Course
FAH246H1
Professor
Mark Cheetham
Semester
Fall

Description
• FAH246 • Week 8: Ab Ex vs. Minimalism • 10/31/12 • the understanding of “intellectual” and “writer” was a CONTEMPLATIVE not an ACTIVE one  did not particularly encourage the writing about their works, believed works could speak for themselves • America had its cultural imperiority complex further built up as Europeans began to accept them more  must see shows, paparazzi, increased fundingm etc. • “neurotic loner” to “public man” • increased circulation (national and international) of art magazines, “the artist speaks” propelled by Abstract Impressionism Art Critics • There were a couple of art critics prominent and powerful (Greenberg and Fried) • Anti-authoritarian sentiments of 1960s came through; artists frequently claimed they misunderstood • 1962:“Art world” magazines, often artist writings substituted critic’s  most published artist writings were solicited by writers • artists produced non-critic friendly work were expected to write about it, and “make do” with the function of the artist writer: a stand-in for, but later replaced by, the critic Education • Another diff between Ab-Ex and Minimalist artists was education. • Many Minimalist artists had undergrads at excellent institutions • Many critics said: “ art is moving into college” Emergence of Art History Field • Mid 1960s: anthologiesbeing published • Expanded art world machine worked better when artists provided statements for themselves: well-versed in art theory and criticism to be successful artists • Art is supplmenet to discourse • Judd: exhibition reviewer for Arts Magazine. This magazine also published “Arts Yearbook 1 • Judd’s essay “Specific Objects” (1965) gives the year’s trends for SCULPTURE. He’d written over 600 exhibition reviews • A form can only be used in so many ways : a guiding principle of the work analyzes, and the work he goes on to produce (his wall progressions and stacks) Artist critic: same methods. What inherited forms from past, and what are significant developments, what new developments were taken into account into the new work. • “Art comes from art” • “SINGLENESS”: elimination of composition or COMPOSITION WHOLENESS. Found this in the work of Duschamp, Johns, Roschenberg, and many Ab-Ex painters (Pollock, Rothko, Stille, Newman, Reinhardt, Nolan) • “Wholeness” achieved by singleness of unity (repeated stacks) and rectangular shapes • “3D art is more single” • singleness is more “AGGRESSIVE” • New materials used: plastics, industrial methods of manipulating steel o Because it’s NOT traditional, it’s “new” o Assumption “art comes from art” comes into play • By the term “Specific”, Judd distinguishes something “INOBDURATE” (stubborn in its specificity) • “A work needs only to be interesting;” the whole work is interesting • While Greenberg stresses that artwork stresses its OWN INHERENT QUALITIES, eg. Paint aims to emphasize its flatness, Judd believes • Judd’s art is not antagonistic to what has come before; the artist and critic is AWARE of the most recent development Graham and ??? • “Homes for America,” (1966-77) states that housing developments are particularly gratuitous on an architectural level; their design is obsolescent • “Making Donald Judd with slides” • IT was when his gallery published ads in the magazine that they sent reviewers to his shows • Started to make works for magazine pages o Why wait for works to be reviewed in magazines? Just go ahead and work for one. • Concept of “deskilling”: no need for particular studio training to be an artist. Graham was an artist because he WROTE. SMITHSON • Celebrates openness of art historians • We can manipulate words: when we use words we should use them as though they’re rocks • Wrote forARt Forum, Art International -> interest in literary moderness • His writing was “domesticated” and seen not the same as art criticism 2 Tim Lee, Upside-down Water Torture Chamber, Harry Houdini, 1913, 2004 • a play on the upside-dwn trees Smithson wrote • Calls to mind how much Smithson’s writings influenced everything SOUND IN ART (1960) • Jackson Pollock’s action painting: moving from retinal/optical vertical postures to a flat-bed, horizontal gesture -> aperformance or dance around the periphery of the painting • This periphery will become IMPORTANT in the 60s, as this is what will define the LIMITS of painting; TECHNICAL limits, BODILY limits, and the relationship between such. o Firstly, body of artist, and secondly, body of visitor • Attacks the unstretched canvas; now, art is not in the traditional easel setting but in the performance of the art itself • Can be IN THE PAINTING. Dismantles distances
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