Class Notes (835,539)
Canada (509,225)
Art (530)
FAH246H1 (29)

Week 12: Art After 1980s II

5 Pages
Unlock Document

Mark Cheetham

• 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
More Less

Related notes for FAH246H1

Log In


Join OneClass

Access over 10 million pages of study
documents for 1.3 million courses.

Sign up

Join to view


By registering, I agree to the Terms and Privacy Policies
Already have an account?
Just a few more details

So we can recommend you notes for your school.

Reset Password

Please enter below the email address you registered with and we will send you a link to reset your password.

Add your courses

Get notes from the top students in your class.