FAH246H1 Lecture Notes - Lecture 1: Watercolor Painting, Alexander Rodchenko

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24 Jan 2015
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Picasso,DemoisellesD'Avignon,1907(and'source'material)
Sometimescalledthe'FirstCubistPainting'butnottrue
ThepieceislocatedatMOMA‐>MOMAmadeitveryimportantandincreaseditsvisibility
MOMAmadeitcentraltothenarrativeofwhatmodernartisabout
Thepieceisshockingandbrutalinwhatitdoestothefemaleform
Picassobroughtprimitivismtocubism(influenceofcolonializationandracism)
Duchamp,Fountain,1917
Picassoisusuallyseenasaprocreativegenius
Duchamp,ontheotherhand,islookedascerebral
Hedoesn'tfabricatework.Hemakesartthroughhisbrainandplacement
Thesetwoartistsareaparadigmofwhatishappeningintheartworld.
Rodchenko,PureRed,PureYellow,PureBlue,1921
Abstractartisoneofthemostimportantinnovationsofthewest
Thispieceisverypureandsimple
Abstractartcanbetalkedaboutformallybutitisnotthebeginningandendofmuchabstractart
Rodchenkowasveryinvolvedwiththepoliticsofhislife
Hesawthisformofartastheblueprintofthefuturesociety
DiegoRivera,DetroitIndustryMural(Workers),1932‐33
Emphasisofthesociallifeonart
Sociallyengagedpieceofart
Riveraisdepictingthemachineageandtheplightandgloryoftheworkers
Modernityisthemoreencompassingumbrellaterm.Itincludesindustrialization,urbanization,technologytakingoverandmedia
drivennatureofthemodernworld.Itstartedattheonsetofindustrialrevolution.
VS
Modernismisthedevelopingnatureofthesociety.Thedefinitionchangeswithtimeandplaceandsocialclasses.Inthevisualarts,
modernismistheresponseofthevisualculturetotheconditionsandconsequencesofmodernity.
AvantGardeisthetypeoffocusedmodernistresponsetotheconditionsofmodernity.Itisnotnecessarilyaprotest,butitseeksto
changetheconditionsofmodernity.ModernartisreallyahistoryoftheAvantGarde.Itisthegestureofmakingaconceptimportant
andrevelingittotheartworld.TheAvantGardeofthe19thCenturywasoriginalandnewlyrepresented.Criticsthinkthatnowthisis
notpossibleanymorebecauseallideasarealreadyutilized.
Mondrian,BroadwayBoogie‐Woogie,1942‐44
Rigorousartistwhowouldonlyuseprimarycoloursandblackandwhite
Healwayswentforacleanerandsimplerlook
ThepaintingrepresentsthesenseofmigrationanddisplacementofMondrian
Neumanismostfamousforputtingverticalstripesinpaintingsofcontinuousseaofcolour.Thelineswerelikepunctuationmarks
whenreadingasentenceintheformofapainting.
Warhol,GreenDisaster#2,1963
1960swasatimeofhugeexplosionofinnovationinart
Warholwashighlycapableofpickingupwiththenewmedia
Hewouldgotothenewsagenttopickuppicturesthattheycouldn'tprint.Hefoundthemostdisturbingpicturesandrepeated
theminthedisasterserious.Hethoughtthatimagescametohimandheredistributesthem.
AnaMedieta,SiluetaSeries(1973‐1980)
Shedidaseriousonimprintsofthehumanformondifferentmedialikesandandthentookphotographstoleavethemforthe
futuregenerationstolookat
Herartisaboutgenderrolesandfeminism
CindySherman,Untitled#114,1982
Photographybecomesmoreandmorecentralastheartmakingmedium
Lecture1
January6,2015 10:11PM
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