Microsoft Word - Chapter 29 to 31 Modernism Unit Sheet.docx



Chapters 29 to 31 Modern to Contemporary Art

|Chapter 29 Works of Art |Artist |Medium |Date |

|Woman with the Hat |Matisse |Painting |1905 |

|Improvisation 28 |Kandinsky |Painting |1912 |

|Demoiselles d’Avignon |Picasso |Painting |1907 |

|Guernica |Picasso |Painting |1937 |

|Dynamism of a Dog on a Lease |Balla |Painting |1912 |

|Unique Forms of Continuity in Space |Boccioni |Sculpture |1913 |

|Fountain |Duchamp |Sculpture |1950 |

|Nude Descending a Staircase, No. 2 |Duchamp |Painting |1912 |

|The Steerage |Stieglitz |Photograph |1907 |

|The Persistence of Memory |Dali |Painting |1931 |

|Object |Oppenheim |Sculpture |1936 |

|Composition with Red, Blue, and Yellow |Mondrian |Painting |1930 |

|Shop Block, the Bauhaus |Gropius |Architecture |1925‐26 |

|Nighthawks |Hopper |Painting |1942 |

|American Gothic |Wood |Painting |1930 |

|Ancient Mexico |Rivera |Fresco |1929‐35 |

|Migrant Mother |Lange |Photography |1935 |

|Kaufmann House/Fallingwater |Wright |Architecture |1936‐1939 |

|Chapter 30 Works of Art |Artist |Medium |Date |

|Painting |Bacon |Painting |1946 |

|Number 1, 1950 (Lavender Mist) |Pollock |Painting |1950 |

|No. 14 |Rothko |Painting |1960 |

|The Bay |Frankenthaler |Painting |1963 |

|Three Flags |Johns |Painting |1958 |

|Canyon |Rauschenberg |Mixed Media |1959 |

|Hopeless |Lichtenstein |Painting |1963 |

|Green Coca­Cola Bottles |Warhol |Painting |1963 |

|Lipstick |Oldenburg |Sculpture |1974 |

|Marilyn |Flack |Painting |1977 |

|Big Self­Portrait |Close |Painting |1967‐68 |

|The Dinner Party |Chicago |Sculpture |1979 |

|Untitled Film Still #35 |Sherman |Photography |1979 |

|Notre­Dame­du­Haut |Le Corbusier |Architecture |1950‐55 |

|Seagram Building |Mies |Architecture |1956‐58 |

|Portland Building |Graves |Architecture |1981 |

|Spiral Jetty |Smithson |Environmental |1970 |

|How to Explain Pictures to a Dead Hare |Beuys |Performance |1965 |

|Video Still from Global Groove |Nam June Paik |New Media |1973 |

|Chapter 31 Works of Art |Artist |Medium |Date |

|Untitled (Your Gaze Hits the Side of My Face) |Kruger |Photography |1981 |

|Who’s Afraid of Aunt Jemima? |Ringgold |Acrylic |1983 |

|Horn Players |Basquiat |Acrylic |1983 |

|Napoleon Leading the Army over the Alps |Wiley |Painting |2005 |

|Pink Panther |Koons |Sculpture |1988 |

|Guggenheim Bilbao Museo |Gehry |Architecture |1997 |

|Vietnam Veterans Memorial |Maya Ying Lin |Sculpture |1981‐83 |

|Surrounded Islands |Christo & Jeanne‐Claude |Environmental |1980‐83 |

|Tuttomondo |Haring |Painting |1989 |

|The Crossing |Viola |Performance |1996 |

Chapter 29 Preview: The period in art between 1900 and 1945 in Europe and America was intense and marked by international exchange due to the onset of two world wars. In the early part of the century, Pablo

Picasso’s Cubism and German Expressionism represented radical new ways of representing reality. Futurists in

Italy captured the dynamism and movement of modern life, while Dadaists across Europe and in the U.S.

traded in obscure, nonsensical protests against rational society. In 1913, the Armory Show in New York introduced American audiences to European modern art. The Harlem Renaissance saw African American artists embrace modernist expressions, and under the direction of Alfred Stieglitz, American photography defines a distinctive style. In Europe, the Neue Sachlichkeit movement developed in Germany as a reaction to World War I. The 1920s saw the emergence of Surrealism, Russian Constructivism, and the Bauhaus in

Germany, which promoted the idea of “total architecture” and the integration of arts. Between 1930 and 1945, Mexican artists Orozco and Rivera painted murals thematizing Mexico’s history, while Frida Kahlo explored autobiographical, psychological themes. In the mid‐20th century, Frank Lloyd Wright was recognized as the leading architect in the U.S., and his expressive, daring structures continue to inspire architects.

Chapter 30 Preview: In the decades following World War II, art reflected the upheaval in society, expressing postwar anxiety, the values of the emerging feminist and the civil rights movements, and reflecting on the new consumer society. Some artists chose a more formalist track, pursuing chromatic abstraction in painting and minimalist sculptural form. Architecture developed in two directions—modernists pursued idiosyncratic, expressive forms or more stripped‐down, “International Style” designs, while postmodernists combined styles and explicitly employed historical ornaments. Beginning in the 1960s, artists pursued alternative approaches including performance and conceptualism, and by the 1970s, the new media of video, sound, and computergenerated art were widely practiced and exhibited.

Chapter 31 Preview: Since the 1980s, artists worldwide have used art to explore a range of themes, from individual concerns to pressing political issues. A host of artists, including David Wojnarowicz, Robert Mapplethorpe, and Shahzia Sikander, have used art to examine sexuality and gender, while many AfricanAmerican artists such as Lorna Simpson and David Hammons focus on racial identity and inequality. Abstract and figural painters and sculptors across the world continue pursue innovations in representational form and novel uses of material. Artists such as Maya Lin, Richard Serra, and Christo and Jeanne‐Claude work sitespecifically and bridge the gap between architecture and sculpture. Architecture has become a particularly diverse practice in recent decades, as architects pursue postmodernist, Hi‐Tech, Deconstructivist and green building approaches. New technology has had a profound impact on art, allowing new forms of visual expression and multimedia spectacle never before possible.

“Painting is not a mirror but a language of mark and shape making – of structuring on a flat surface, whose means are infinitely variable but which has the power to represent things grasped in space in all their complexity.”

What is Modernism? – “Art which calls attention to itself as ART”

1. Redefining “reality” ‐ a growing interest in psychological reality and imagined reality

‐ Interest in other “realities” apart from the visual, external world of objects, and space and light

2. Art that calls attention to the process of its making

3. Focus on the individual in the form of self analysis and self expression

‐ desire for freedom from academic art institutions and traditional processes of art making

4. interest in the exotic and in new sources of imagery which are often non‐western (e.g. Africa)

5. elements of art – line, shape, form, value, color texture

‐ formal concerns as a primary structuring device of art work

6. fracturing of image and the process of various ways of abstraction

7. experimentation and use of modern materials and technology for art making

8. challenging conventional ideas of what is “beautiful”

9. the objectification of the art work – an “invented” reality

‐ moving away from pictorial space and illusionary space, form, and light

10. “the shock of the new” – innovation becomes one of the defining elements of art

Context: Historical Framework

‐ Non­European influences to European art/culture due to imperialism/colonialism

‐ Pessimism and a sense of hopelessness due to was and conflict – rising nationalism results in military buildup in central Europe which creates rivalry between major powers (Nietzsche)

‐ New building technologies due to rapid industrialization (reinforced concrete, steel, and the skyscraper)

‐ New awareness of space and time due to scientific discoveries/inventions – Wright brothers (flight), Einstein (theory of relativity) and Ford (automobile)

‐ Mass communication increases – ideas spread – Edison (motion picture camera), Macaroni (radio)

‐ New interest in the inner world of fantasy, dreams, sexuality, neurosis due to studies and writings of human psyche by Freud (psychoanalysis), Jung (collective unconscious)

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