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What is the line between figuration and abstraction in post-War European paintings?

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What is the line between figuration and abstraction in post-War European paintings?

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PAPER PREP #9:  Audience, Address, Communication 

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PAPER PREP #9:  Audience, Address, Communication 

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Visit your selected artwork and spend 15 minutes just looking at it. What do you see that you haven't before?

How does your chosen work of art orient itself to its viewer? If a video, does the narrator address you, the viewer? Is the object indifferent to your present: a self-contained circuit? Does it or does it not solicit your engagement? Write 1 (or more) double spaced pages about:

How do they address (or not) their audience? (directly, indirectly, indifferent to the audience, etc). Why do you think they took this approach?

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What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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Heba Ahyad: Alberto Burri & European Art after WWII 

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Heba Ahyad: Alberto Burri & European Art after WWII 

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Alberto Burri drew an analogy between burlap and skin. The color of natural burlap is similar to human skin color. Moreover, stitching wounds is almost like sewing burlap sacks. According to an article posted on Sotheby's website, “this material was imbued with tremendous symbolic importance for the artist”. Not only was burlap cheap and easy to work with, but also reminds viewers of military camps. “Ubiquitous during the Second World War, burlap was utilized for tents, supply sacks, and sandbags, and even woven in strips through camouflage netting. Evocative, therefore, of the turmoil of this historic moment, it became the medium through which Burri was able to comprehend and overcome the horrifying trauma that still dominated the European collective memory in the 1950s”.
https://www.sothebys.com/en/articles/three-revolutionary-works-by-alberto-burri

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Erika Dunn Response: "What stood out to you about this week's lecture?"

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Erika Dunn Response: "What stood out to you about this week's lecture?"

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I'l be completely honest, I was much more interested and invested in this lecture than many of the ones we've already had, because this is the first time in these lectures that I seen art incredibly reminiscent of my own style. The transformation of art during and after WW2 towards the feeling of an emotion, or thought in a painting in its purest form rather than focusing on presentability is fascinating to me, because that's how I've developed my relationship to my art. Kevin Bacon as an artist is a very good example of this, as he does a fantastic job of portraying unsettling scenes and emotions through raw and unfiltered lenses, and tended to gravitate towards the more grotesque. And the development of this certain art movement intrigued me, as I've had my art described as unsettling and "gore-y". I was also interested as well in the progression towards art being for everyone, not just professionally trained artists. Up until about a few months before I started this school, I had had no formal training or workshops or anything of the sort, I was completely self-taught. And the art world began to open up to people like that at this time welcoming artists in late age, artists who had never had formal training, and artists suffering with mental illness. My work has to do a lot with my journey and struggles of my own mental illness, and seeing that acceptance develop in this part of history was very interesting.

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I had a general understanding beforehand of Gutai because of a baseline knowledge of performance art, but learning about the meaning behind why it was created was a significant part of the art form that I needed to truly understand it and I'm glad I was able to learn about it during this lecture section. It was also interesting to learn about the progression once again into the deconstruction of objects and space into basic shapes and colors. Seeing those stylistic choices come around multiple times in art history from cubism until now is always interesting to see.

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Alexander Breus: Response "What stood out to you about this week's lecture?" 

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Alexander Breus: Response "What stood out to you about this week's lecture?" 

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What really caught my attention is Francis bacons terrifying postwar paintings. Despite not being as literal in their storytelling as for example Picassos “Guernica” these paintings impact you much harder. Bacons paintings are much more similar to Jean Fautrier’s “Hostages” which show us Fautrier’s trauma, the feeling of death and suffering all around, something that is impossible to represent literally. The focus on the mouth and the reverberating waves we see through these messy compositions really make you here the Scream of trauma. The scream is what distorts and abstracts the surroundings as inly the mouth in the center of the composition is recognizable and detailed with teeth and lips. For example, Study after Velazquez’s Portrait of Pope innocent X, 1953. The gaping black mouth almost emits light cutting vertically the darkness surrounding the figure. The clenched hands holding the cage like chair only amplify the feeling of imprisonment, dread and torture. Another Example is the “painting” 1946, disgusting mouth in the center, ready to consume the red mess that resembles torn lamb ribs. So many emotions in one image – greed, aggression, violence, sadness. The Beef carcass can be interpreted as a grotesque crucifix, a representation of whatever was left of spirituality and holiness after the war. People have turned away from God as hunger caused by the war turned them into hungry animals. The drama portrayed by the ugly truth really cuts the eye making you want to find out and research what thing could’ve inspired someone to create something so nightmarish. Not even Jean Fautrier’s disfigured faces strike that much fear.

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It’s interesting how Gutai amplifies the level of portrayed trauma that we see in Giacometti’s and Fautrier’s grim and texturally rich works. There is a direct visual similarity as we see Shiraga Kazuo create “Challenge to the Mud” 1955 which focuses on the dirt and mud that engulphed the world and with it every person’s life and body. The atom bomb recontextualized death and destruction for Japanese artists, something that is impossible to just show through a visual medium. The proximity of the terror and it’s instantaneous way of killing made Shiraga create this merciless pit of death, merging with the sinking and helpless body. Similarly Subaro Murakami’s body clashes and rips through the paper in his “Lacerations of Paper 1956 performance. The sound (loud bang similar to explosion), torturous repetition, all culminate in creating the experience of the destruction on the human psyche.

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Learning about the fundamentals and ideals of Neo-dadaism was especially interesting to me. Specifically how they utilized humor seriously and un-seriously within their artworks as a critique of a vast majority of art movements that came before them. But even then, Neo-dadaism pulled from multiple different cultures while still not giving the deserved credit to said cultures, such as Zen, (which appears mostly in Japanese culture) other East Asian and South Asian cultures, and Native American cultural titles such as the Shaman. That being said, the combination of all of these different areas of the world created the basis for collage art, pop art, and multiple other mixed media forms of art expression as a result. And often artists would use these combined forms of mixed media in unconventional ways that mimicked the spontaneous, but were carefully deliberate to challenge the idea of the spontaneous, much like Robert Rauschenberg's combine art piece "Bed" in 1955. In this piece specifically he both utilizes and challenges the ideas of readymades, collage, and expressionist painting, first making a beautiful combination painting with a sheet and quilt, but then adding a pillow to give the piece its humor and implication of challenge of what it considered "spontaneous". And he was able to make works like these because art's progression up until then had come far enough to allow these artists to be critical of past styles and techniques without it being viewed as completely taboo to "denounce the masters."

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Vanness Liu: What is the line between figuration and abstraction in post-War European paintings?

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Vanness Liu: What is the line between figuration and abstraction in post-War European paintings?

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The line between figuration and abstraction lies in the difference in presentation. Figuration uses the disfiguration of a body in an abstract form to present violence

or the physical sensation of pain. For example, the Cobra movement wanted to emulate art's bruteness, which they took inspiration from children’s work and mental. They viewed it as raw art and a straightforward way of expression, they wished to look outside of art and aim toward breaking down authority, control, and tradition. The abstraction of art uses gestural abstraction to show the rejection of geometric and rational systems. They want to show how there is no clarity and order and express chaos guided by emotions and speed. For example, Hans Hartung uses lines and brushstrokes like slashes to deliver how artists should remain free from restraints. Painting like this meant Hartung could express his personal feelings and act out on the canvas.

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Vanness Liu Response to Brian Oh on Karen Appel 

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Vanness Liu Response to Brian Oh on Karen Appel 

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I learned that Karel Appel is part of the Cobra movement. The cobra was tired of drawing made with hyperrealism therefore their works tend to aim towards abstract art. Appel’s inspiration for his abstract art comes from children and artwork. He presents the narrative in a “straightforward” way like children when they draw. They don't necessarily think as they create but are simply just following their intuition. Appel mainly uses primary colors in his work. I like how you compare Appel's work with Pollock's to show certain similarities between their work despite their difference in approach and ideas.

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First what stood out to me was the development of Japanese work and how it responded to the war. I really liked the opening of the lecture introducing the shadow of a wheel / mechanical part that had its shadows burnt into the wall from the energy of the nuclear blast which serves as a reminder of the traumatic event. This connects with the works of Shiraga Kazuo in how he uses his entire body to move the mud/ dirt around. The earth becomes the canvas and his body serves as the brush and the work might be the residue of mud that remains.

His way of art is thought-provoking as it makes you consider what art is. Is it the

Document of making the work or is it the result that is created after the “performance” Just like the shadow from the nuclear blast is the focus of the shadow that was left or the context that it was caused by a nuclear blast. Japanese artists focused on this question of what makes performance a performance or what is the work. Does a performance require an audience or is the process action of painting itself a performance?

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What stood out to me was the exploration of segregation by Robert Frank and composition through the audience by John Case. Robert Frank was a controversial photographer as he aims to explore segregation which is a intense social issue at the time. He called to attention to American society of how the wealth effect an individual  at the expense of another. He showed the showed the privilege and freedom Americans had through the form of a road trip. His photographs challenges the lens of who one is viewed and viewing a take on the different perception of perspective. John cage works helpes expand the understand of art through the idea of context. As a composer he plays around of challenging space in a work into the space of the world. For example, in his famous work 4′33″ he uses the audience that was suppose to be viewers as participant in his composition. He recorded the sound the audience such as shuffling or talking and any sound that they made for 4 minutes and 33 seconds. He showed showed how true silence is impossible physically as the body creates ambient sounds such as heart beat or breathing.

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Emi Kokubo - "What stood out to you about this week's lecture?"

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Emi Kokubo - "What stood out to you about this week's lecture?"

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I was totally captivated by Francis Bacon's paintings. I'm in love with the horrific style that he uses, and the attention to detail in each and every aspect of the painting. Although I do love the visual aesthetic of these paintings, I am more fascinated by the fact that I am so drawn to them. Previously in Padlet questions I mentioned I am drawn to order rather than disorder, but this seems like the complete opposite of "order". Especially seeing Bacon's studio space which I think was described as the space of a "serial killer". Seeing the amount of disorder in his workspace as well as the chaos in his paintings was almost comical. Since I am not a painter, many of the artists so far have not stood out to me or made a huge impact on how I view art. But these paintings definitely resonated with me. The first photo we were shown by Werner Bischof also resonated with me. I mainly do photography so I can appreciate this art form deeper than surface level.

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What is the line between figuration and abstraction in post-War European paintings?

For some artists post-War, the best way to express and handle their trauma was to create art that disfigured the human form. The figures reflected how the artists felt post-war and were an extension of their trauma. Figuration saw the human form morphed, mutilated, and flattened, but in all of these examples they were still clearly depicting the human form. In contrast, many other artists turned to more gestural abstractions that moved away from the human form as a subject matter. In these works the motif of the human is absent, and artists focused more on expressionistic compositions created through spontaneity.

What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

What really stood out to me about this lecture was the raw emotionality and expression of trauma. The paintings from this time period really feel haunted, and give a sense of haunting the viewer, specifically in Francis Bacon's pieces. His pieces feel familiar yet uncanny, graphic yet textured, the figures are often contained in a sort of box, yet their expressiveness floods the surface. Something else that stood out to me was how tactile a lot of these pieces seem to be. The juxtaposition between quick application and slow movement through thick paint really resonates with the experience of trauma.

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A theme I noticed in this lecture was the importance of process in artworks. It seems that as art became more modern, the process became very important to the value and meaning of artworks, which can be seen particularly in the duality of Gutai artworks. For example, in Shiraga Kazuo’s Challenge to the Mud, the piece created was a combination of process (through the performance aspect of moving around in the mud) and the more traditional physical end result (how the mud ended up). This was challenged later on by artists such as Robert Rauschenberg with his instructions on how to make his white paintings. This was part of the conceptual artwork “movement” that asserted that it was the meaning about a piece that was important, not the making of it. However, today it seems like process is once again considered very important in the creation of art (for example, process is a huge part of the AP art portfolio).

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A common theme that really stood out to me in this lecture was the theme of nothingness / silence / blankness. Starting with John Cage’s exploration of silence and the absence of noise, and how he found out that true silence can’t really exist, or at least can’t be experienced by a person. His exploration of this through 4’33’’ was very  interesting because of how the “silence” (or lack thereof) changed with every performance depending on the audience. Similar to this idea was Robert Rauschenberg’s white paintings, where the blankness was the entire subject of the painting. Finally, the concept of nothingness came up again with Nam June Paik’s Zen for Film that just played an endless loop of blank film on a TV.

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It’s interesting how the artists of the 50s recontextualized and manipulated the Dadaist thesis almost taking it to its limit, setting up the world for Warhol and other Pop-artists. They adopted the idea that making, skill and artistry are irrelevant as they are all tools to make the viewer think the same way as you, see what you see, your idea (Duchamp’s Fountain). Jasper johns for example instead of taking a real readymades makes a deliberate copy of a real object, instantly recognizable but at the same time pointing at the artificiality of an artwork, as the textures at the same time are also easily recognized as oil paints. He uses symbols as readymade, painting flat things on flat objects, colliding reality, and the limits of a canvas, confusing the viewer, destroying the acknowledgement of him creating it and being original.

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Parker Navarre responding to "What stood out to you about this week's lecture?"

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Parker Navarre responding to "What stood out to you about this week's lecture?"

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What stood out to me was the section on Francis Bacon. Whenever I first visited the Institute I was captivated by his painting "Figure with Meat" I loved the style, with the emphasis on strong brush strokes but also his strong attention to detail. I really enjoy more grotesque and horror-themed art that has an eerie tone to it and Francis Bacon perfectly captures that.

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What stood out to me the most was the discussion of whether the performance part of a work is the art or if the residue left is the art. While I personally believe both are a part of the work, I was very interested in Shiraga Kazuo's work and how the ground works as a canvas as he himself is the tool to create art with. He makes you think about what art is. What counts as art? Is it the ground left after the performance? Is it his body covered in mud? Or is it the performance itself?

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The part of this presentation that interested me the most was the idea of artists using audience participation to create the work itself. John Cage's performance really interested me because the expectation of a performance, being met with silence, then realizing that the performance was you (in the audience) creating noises of shuffling and whispers, is a very captivating concept to me.

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Parker Navarre responding to the presentation on Alice Neel

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Parker Navarre responding to the presentation on Alice Neel

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I was especially interested by her work "Futility of Effort," it is a very unique piece to look at and it explores her feelings about the death of her daughter. It explores themes of grief and honestly. What really emphasized the sadness of this artwork, to me, was the fact that the style of drawing is very child-like.

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In this video I started to think about what who we (as viewers) accredit a piece of art to. Seeing Jiro Yoshihara's canvas that he placed in a public space made me think about how it is still considered art even though most of it was done by strangers. Seeing the canvas splattered with paint also made me think of the performance aspect of it. I would never have looked at that large canvas and considered the performance to be the art rather than the product. Is documenting the process more important than the final product? I had always seen the final product as the work of art and gave the artist credit for their display of creativity. But if multiple people participate in the creative process who do I accredit the work to? If it is a performance, does the photographer/ videographer get credit? I saw the Nick Cave exhibit at the MCA recently and thought it was incredibly impressive until I watched the documentary about his creative process. Cage talked about his muses and support through this project, but I also learned that he hired upwards of 300 people to help him make each piece on display. So technically speaking all of the work was not "his". Are we supposed to give him all the stardom? Or are the idea enough to support his rise to fame?

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Lingzi Li Response: "What stood out to you about this week's lecture?"

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Lingzi Li Response: "What stood out to you about this week's lecture?"

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Two artists that I found interesting in this week's lecture were Alberto Giacometti and Jean Dubuffet, who were introduced in the Disfigured Figurations section.
In Giacometti's work, I felt not only the plight of post-war humanity, but also the plight of the individual in the metropolis within mass society. In the vast and complex social, political, and architectural structures, each individual is homogenized and survives in a state of psychological isolation. The rough, crumpled surfaces, blank, expressionless faces, and distant dimensions of his works make these extremely small, elongated forms reveal a desolate distance from each other and from the viewers themselves. His work addresses philosophical questions about the human condition, as well as existentialism.
Dubuffet's work shows him breaking away from orthodox rules of representation and oil painting techniques, and using a wide range of techniques and materials to create a variety of styles. His work evokes the randomness of children's graffiti, as well as the wildness of prehistoric cave murals.

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This video, in a way, answered the questions I had in my last response. I asked about who art should be accredited to when it is collaborative, interactive, or a performance, and I learned in this video that the environment and ideas behind the art are just as important as the physical presentation. I thought it was interesting that the Fluxus/ New Dada artists thought much more conceptually about art rather than being too concerned with physical presentation. I still question some of the ideas that were presented in the video however. For example, John Cage's "4:33", It was his idea, but he wasn't even the one on stage. The performer sat at the piano, and the audience made the noise. To me that is much more experimental than artistic. Similarly with Yoko Ono's "cut piece", although she was the subject in this piece, it wouldn't have happened without the audience participation. I do like the conceptualization of art in this video though. I think expressing yourself is just as, if not more important than making good looking art.

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Mars Xu: Response "What stood out to you about this week's lecture?"

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Mars Xu: Response "What stood out to you about this week's lecture?"

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What stood out to me is the concept and atmosphere of alienation, isolation, and loneliness Alberto Giacometti tries to create through his artworks. Where isolation is difficult to develop through artwork because it can't be portrayed by simply using a symbol or an object, it requires the artist to understand viewers' perceptions since everyone has their understanding of loneliness or isolation, which genuinely makes his artwork sensational to me.

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I have actually wanted to delve into this artist for a little while now but never really had the chance, so I really appreciate how detailed this presentation was specifically on his work and movements he created/influenced because it helped me on which parts of him and his work I want to research. I especially appreciated on how Brian focused on what Appel's artwork was inspired from and the symbolism/intention behind it, as well as showing the progression of his work over time really well.

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It is interesting to see performance art makes the process of art seems more important than before, whereas, in Gutai artworks, that process becomes more important than the results of it. Looking into the artworks in the lecture that is mentioned, such as Shiraga Kazuo's Challenge to the Mud, truly creates the question of whether the process or the result is the art itself. Then looking into artwork like Jiro Yoshihara's Please Draw Freely makes me wonder to what extent or how public participation is considered art.

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I like how you arrange all the artworks and can compare them easily. It was good to watch it, and I love when you use some words that Anni Albers left. It was good work! :D

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Brian Oh: Response "What stood out to you about this week's lecture?"

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Brian Oh: Response "What stood out to you about this week's lecture?"

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what I like were the Wols' paintings. I like how he uses the line and all the colors that make the great atmosphere even if it is not realistic and really close to the abstract paintings.
Also, his line is similar to drawing with pencils, and I love how it does because it just looks like some croquis.

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It was so interesting to see Ellsworth Kelly's painting called Cite. He was an American soldier and I love how he compares the single blue lines to the shadow of stairs. I had an experience trying to show lights only using tape on black paper. I think it is really similar to my artwork, and it was easy to feel the atmosphere and feelings of the artist.

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My favorite artwork was TV Buddha made by Nam June Paik. I'm from South Korea, same as him and I know a lot about his story. It was giving me a shock because buddha is one of the biggest symbols in Asia. To be honest, something like Buddhism is not really matching to TV, because it is a really old thing that is far away from technology. It looks like technology is getting better and all religions like Buddhism also need to be changed, or Buddha is watching himself, and he is looking at himself again like old Buddhism things. This artwork gives me a lot of complicated thoughts.

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What attracted my attention in this lecture was Robert Frank's documented photographs. The conditionality of freedom in the photographs illustrated many realities and social issues people faced, such as the wealth class. The different photos in the lecture demonstrated the privileges wealthy people had by contrasting two different kinds of people. For example, looking at the bus photo, it expresses the difference between the front and the back seats. Robert Frank used art to showcase the different perspectives and narratives on people's different access levels.

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Mars Xu Response to Emily Skelton on Alice Neel

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Mars Xu Response to Emily Skelton on Alice Neel

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The artists create artwork around the themes such as trauma around motherhood, childbirth, and her daughter's death, which it is crucial to know that Alice confronts the grief she had to experience rather than avoiding it. Moreover, the usage of color allows the viewers to understand the feeling she has to deal with in different themes. For example, in Mother and Child, Havana painting, the warm colors let viewers feel how important family is to her.

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Sibei Jia Response to Brian Oh on Karen Appel

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Sibei Jia Response to Brian Oh on Karen Appel

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I'm glad you introduced the artist and the cobra movement which the artist was in. I learned that they tend to use simple colors and paint like children. In the example you chose of the artists' work, there are still some differences in color styles. The painting is highly saturated in the slide "styles with childhood," with simple colors and clear borders. But compared to people, Birds and Sun, 1954, and Amorous Dance, 1960, these two paintings are more chaotic, with mixed colors and more abstract. These two images do not fit very well with the "children's painting style" for me. You can explain more why these two paintings' inspiration also comes from children.

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Sibei Jia-"What stood out to you about this week's lecture?"

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Sibei Jia-"What stood out to you about this week's lecture?"

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I was most impressed by Francis Bacon's Painting, 1946, which has a very violent aesthetic throughout. It's creative and horror with a powerful visual impact. The flesh in the background is hung up, and views like the human body have been divided into two halves. The man in the middle, wearing black, has his head cut off in half, exposing his teeth. It is hard for me to imagine the artist's mental state during creation time.

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In the 9.2 video, I was most impressed by Shiraga Kazuo's Challenge to the Mud in 1955. He moved away from traditional materials such as canvas, paint, and brushes and instead used his entire body to directly contact the mud. He crawled and rolled in the mud as a performance and a painting process. His work further expands the concept of painting.

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My favorite artwork in the 9.3 video is TV Buddha by Nam June Paik. The Buddha statue meditates in front of a camera, and the TV below the camera shows the face of the Buddha, showing the internal present and the philosophical paradigm. Buddha is trapped in a loop. The work shows the cultural differences felt by the artist. Through the contrast between modernity and religion, the viewer can understand the differences between technology and spirituality.

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I think the part of the video in 9.2 that I found fascinating was the creative spirit behind Gutai and the performance art works of the Japanese artists. The Gutai artists do not make artworks in drawing rooms and antique stores. They try to break the boundaries between art, the public and everyday life and constantly bring the body into a direct relationship with materials, time and space, nature and technology. Without trying to change the nature of the materials or distort their characteristic. I really like Challenge to the Mud by Kazuo Shiraga, which seems to exclude human intention and will, and has no predetermined effect or goal, only unconscious actions. The unseen spirit is expressed through the physical act. It also made me think if performance art itself is art, then whether the result created and the video recorded are also considered part of art.

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The part that stood out for me was the artist John Cage and his work 4'33''. Cage profoundly challenged various traditions of music in the 1950s and influenced the development of sound art in the 20th century that followed. I think he had an interesting way of composing scores based on uncertainty, in addition to coin tossing and divination, which included the use of graphic and even textual instructions. He abandoned the precise and accurate pentatonic score and used abstract graphics or language to rebel formally. In Cage's philosophy, this form also allows the "power of interpretation" to be given more to the performer or even the audience than to the composer himself. The piece is different every time it is performed, even though it does not have any notes, because the audience is different.

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Lingzi Li Response to Brian Oh on Karen Appel

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Lingzi Li Response to Brian Oh on Karen Appel

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You gave a thorough introduction to Karel Appel's life, along with the ideas of the CoBra movement he was a part of. I learned how the childlike innocence of creativity during the political chaos of the time provided the driving force and inspiration for artists like Appel to move forward. At the same time you described how critics in the context of the time had an attitude towards the work of the CoBra artists as being too simplistic. You also did a nice job of introducing the childlike colors and brushstrokes in Appel's work, full of randomness and rough figures that can be seen even in abstract form.

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Emily Skelton response to Lingzi Li on Anni Albers

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Emily Skelton response to Lingzi Li on Anni Albers

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I like how you mentioned that women gained the right to vote the same year that Bauhaus was founded, it sets up the context of Albers' time period very well. It is interesting how Anni and other women at this time were kind of forced into specific forms of art like textile work, yet Anni's art was very visually similar to other Bauhaus artists with its geometric patterns.

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Jada Shields response to Lingzhi Li - Anna Albers

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Jada Shields response to Lingzhi Li - Anna Albers

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I like how you provided some background as to what was going on in the year that Bauhaus was made. The amount of information you have provided gives us a well scope of context. Great Presentation!

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I like how you described the period of time and both the social and artistic context Albers was creating in. 

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I like how you described the period of time and both the social and artistic context Albers was creating in. 

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Jada Shields response to, "What stood out to you in this weeks lecture?"

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Jada Shields response to, "What stood out to you in this weeks lecture?"

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In the beginning I wasn't to excited because war isn't what I'm interested in. Although for some reason, I've never thought to think about how the war has directly affected art in a unique way. All of the work was interesting although Francis Bacon stood out to me the most. I know his work is in the Art Institute, which I was really captivated with. The painting 1946, captivated me in the same way. Both pieces give off a really weird, uneasy feeling. I feel he has an amazing way for expressing emotion through the subject in his work but his brush strokes and color. All in all, his work really intrigues me.

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Thomas kim Response: "What stood out to you about this week's lecture?"

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Thomas kim Response: "What stood out to you about this week's lecture?"

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I've known about Francis bacon but seeing his artwork again is truly haunting. His post war paintings channel the trauma and suffering from the war experienced, shown as ethereal and eldritch vibrations recorded on the canvas. He is able to choose exactly what to distort and what to paint with clarity, giving the paintings the horrifying quality of being so close to reality but so far at the same time.

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War has affected everyone in the world at the time. And even if Japan was a imperialist-massacreing-Raping-human experimenting-slaving-torturing all around asia, The end of WW2 and the devastating affect of the nuclear bomb cannot be ignored, for it was the civilians who paid the price for the leaders who could not decide to surrender. From the shadow of the wheel to the "challenge to the mud" to the Lacerations of paper.

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It is always interesting to learn about movements that was started as a reaction or began after a certain large movement, and -neo-dadaism is one of them. And If a movement like Neo-dadaism takes from Zen, and movements before like cubism takes from the african artworks and dadaism takes from the native americans, then does neo-dadaism take from all cultures before than as well?
Whatever I suppose. They were not shown any credit or recognition.

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This lecture includes my favorite performing arts. I like this kind of art. To be honest, I think the process of interactive art is worth thinking deeply. It is not like painting where it is fixed. The results obtained in this kind of performance art are unconscious, but in the process of appreciating these works, it will consciously lead people's thoughts into the artist's thoughts. This is interesting.

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In this lecture, what I feel most is the first half of the photos about race. In fact, when I first entered the university, I heard the explanation of these photos in the class. When I come into contact with these art photos again, I will think again. Although  art is reflecting some phenomena, it is actually being discussed as a record for countless times. If I were one of these people, I would not be sure whether I would be happy because of this kind of friendly discussion. So I will start to think about whether art will bring harm.

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Francis Bacon impressed me deeply in this segment The first impression after reading his works is composition. It is not difficult to see that he has his own unique style in each work. He likes to add three-dimensional fences in his works, which seems to be a symbol of pain. He deliberately emphasized the ugly face and the expression of pain and struggle.  The characters in his works become a sense of terror in the picture, and great pain hits the human mind. This always causes people to think.

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Tony Bonilla : What stood out to you about this week's lecture? 

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Tony Bonilla : What stood out to you about this week's lecture? 

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One artist that really stood out to me for this week’s lecture was Alberto Giacometti and his sculpture, Head on a Rod (1947). The actual piece really puts perspective on what emotion and trauma Giacometti went through during this time period. The head seems to be screaming in agony or pain, while being held up by a rod. Another piece that stood out to me of Alberto is the Three Men Walking II. All three men are walking in different directions, seemingly not paying attention to one another, giving the impression that this could be a representation on how we pass by people everyday, being isolated from everyone.

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Shiraga Kazuo’s Challenge to the mud instantly caught my eye. Using his own body to create an image on the ground using mud. This performance art is really interesting because we as the viewer may not know what the intention of the artist is. Is it to create an image on the ground using his own body or is it to create marks on his own body for his art? Having these types of questions is what makes the performance very interesting to watch.

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Jackson Pollock has always been an interesting artist to study. He was a major figure in the abstract expressionist movement. But I really wanted to focus on his drip technique. Just by pouring paint with the aid of a simple brush or stick, and creating the overlaps of curves and curls. I really like how many can find his work as a performance art piece, where the artist lets go and freely unleashes emotion onto the canvas.

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What stood out to me mainly was the development of art in general. It's so interesting to think about different types of art through this period. Whether its performance art or paintings, they were all affected in many ways. One that stood out to me the most though were the many Japanese artist in the lecture. I didn't have any knowledge on Gutai previous to this lecture because I'm not much into performance art. Gutai's work is a great example of the trauma caused.

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What stood out to me during this lecture was probably Maciunas.  work. To take his artwork that far as to including it in an actual wedding, is unique. His quote also stood out to me. His work really takes art to the next level as far as people experiencing it.

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Chris Kang response to "What is the line between figuration and abstraction in post-War European paintings?"

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Chris Kang response to "What is the line between figuration and abstraction in post-War European paintings?"

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The line between figuration and abstraction in post-War European paintings is the context in which a semblance of the body is recognizable. As the second world war ended, artists responded to the destruction by moving away from art being a purely visual experience, and incorporating a facet of physicality using the body to express experiences that were too traumatic to be articulated. This led to two branches of painting in europe: disfigured figuration- figurative painting that is so abstracted it looks disfigured- and embodied abstractions, which are completely abstract but have traces of the body. In this sense, disfigured abstractions show what once was a body but is now an abstraction, while embodied abstractions reveal a body amongst an abstraction. Francis Bacon’s 1946 Painting depicts a man in a suit, yet he is abstracted to the point of grotesque disfigurement; his head consists of only the bottom half of a face, showing a mouth with disturbing teeth and a bloody mustache. Below, his body is smeared, almost bleeding down the canvas as if his body is melting. Above the man, we also see what can be interpreted as a “beef crucifix”, a representation of the crucified Christ through shredded and butchered animal carcasses. Francis Bacon practices disfigured figuration by pushing human qualities into the state of aftermath; bodies that have been decomposed, disfigured, and destroyed beyond a state of life. On the other hand, Jean Fautrier’s Hostages, shows embodied abstractions, by emphasizing the body through the gestural application of a thick impasto, and ultimately requiring a kind of physicality to move the paint around and create this piece. One could also argue that Hostages is an example of disfigured figuration, in that the painting depicts a body abstracted through war and trauma and a physical sensation of a body in pain. How one interprets the piece however, ultimately depends on the context in which they can identify a body.

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Chris Kang response to "What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes."

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Chris Kang response to "What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes."

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Shiraga Kazuo’s 1955 Challenging Mud stood out to me. Gutai translates to embodiment, and the beginning of the lecture made me believe that there is a stark difference between the body as a medium and as an act. Shiraga Kazuo’s Challenging Mud , however, blurs the line between using the body as a tool and approaching art making as an embodied practice. With Challenging Mud, the body is the brush, while the earth is the canvas and the mud is the clay or paint. The work reminds me of Jean Fautrier’s Hostages in its use of the physical body to move the thick material around. Unlike the product that is Hostages, however, Shiraga Kazuo’s work also includes a performance; a camera captures the making of the art, and the dirt itself can also be considered a residue from the performance. This detail brought up several questions for me. First, is the artwork the performance of the making for the camera, or is it the aftermath of the performance? Does something need to be recorded or exposed by an audience in order to exist as art? Although the making of Hostages is not recorded, there is proof of embodied abstractions occurring through the gestural application of the thick impasto, which requires a level of physicality. Could we then also acknowledge that there is performance attached with the work of Hostages, although there is no documentation of it? Finally, performing in front of an audience might force the artist to consciously face their actions. This conflicts with the idea of genuine expression, and raises the question of whether or not an artist can be spontaneous under surveillance. I see Challenging Mud as a conflict between the authentic and performative; can you still work through trauma genuinely when you're doing it for an audience?

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Chris Kang response to "What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes."

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Chris Kang response to "What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes."

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Despite my inherent dislike and disregard for it, I was surprisingly interested in the process of the Neo Dada movement in this week’s lecture. While the idea of absence and blankness has been depicted several ways in art, Neo Dada takes these ideas and translates them to the piece in an objectively literal sense. Robert Rauschenberg, for example, created White Paintings, a series of modular paintings that can be made with one canvas, all the way up to seven. As the name of the piece suggests, however, the paintings are plain white. This begs the question: why confine the seemingly infinite nature of absence to just seven, a seemingly random number? This makes me think of Neo Dada artists using chance as a method of art making. Additionally, the detail reinforces Neo Dada as conceptual artwork that separates the artwork from the labor of the artist. It isn't the making of a few white paintings- the smooth white canvases arranged and installed in John Cage’s performance Theater Piece No. 1-but the concept behind it. The concept, then, is that in a space of movement and activity, the paintings become airports for light, shadow and particles. They become placeholders for events that are happening around the room, monitoring or recording the ways that the environment around them is taking place. Rauschenberg’s White Paintings dont just represent a constant amidst the change- they simply are one. This literal sense of blankness as a constant is what interests me. On a different note, I look as White Paintings as a passive instance of light and shadow; they don’t make marks, and the paintings are screens that capture and then release the interplay of light reflected on them. The contrast, which would be mark making, makes me think of the first photograph shown in the second lecture on the “Gutai” of the permanent shadows etched by the Hiroshima bomb.

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Chris Kang's response to Brian Oh's presentation on Karen Appel

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Chris Kang's response to Brian Oh's presentation on Karen Appel

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Watching Brian Oh’s presentation, I learned about Karen Appel and the overall concept of the CoBrA movement. The CoBrA movement was against the rigidity and strict rules that defined hyperrealism and abstract art and heavily controlled the art making process. Seeking to create art that was free of these boundaries, the movement was inspired by children’s art. Children did not draw based on guidelines or ideas about right and wrong, and the CoBrA movement attempted to capture children’s art making style and methods as a way of achieving carefree and experimental spontaneity. Although I can understand the reasoning behind the movement, I can’t help but find it contradictory and even a bit hypocritical. If CoBrA artists can recognize the restrictive nature of popular art at the time, this implies that they were initially exposed to and even indoctrinated by the traditionally accepted ideas of art. If one tries to create work that is the opposite of this then, despite their ideas, their historical context and experiences makes it impossible to create child-like art effortlessly. This is because the artist is actively intending to oppose the standards of the time. Children don't seek to draw the opposite of strict art guidelines- they simply draw as they make of the world. To draw like children, you would have to actively fight against the instinct to draw the way you have been taught, and that is not spontaneous. Karen Appel’s 1954 People, Birds and Sun does not look like a children’s artwork, but rather a careful and thoughtful imitation of it. Additionally, the medium used for the piece- oil on canvas- and the formatting with the subtle border around the subject matter contradict a mentality that is experimental and free of ideas of right and wrong. In trying to make non-restrictive art, you've placed a new set of restrictions on yourself and others in the art making process. And if this concept is deemed right or wrong, one is inherently without a child-like attitude and cannot be spontaneous. Overall, the presentation was well organized and concise.

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As we know, Neo-dadaism and Cubism movement could’ve begun after interpreting African and native American’s artwork. Unless you are the one of art making member, it is hard to know where could’ve Neo-dadaism and cubism movement started. If it did, this is one of the disproof of people didn’t gave enough credit to where they started. Therefore

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As we know, government incompetence causes their civilian to pay the price. Something happened to world during the World War II. Japanese empire were wrongdoing to their colony, but unclear bomb cannot be exempted. But in the perspective of the United States, they have responsibility to protect their civilians therefore using nuclear bomb causes irony. So, the challenges to the mud gives us a disturbance where I thought it was a stack of corpses. I do see Kazuo Shiraga’s work shows us post war destruction.

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I really enjoyed this presentation on Appel. I’d never heard of him before and his work reminds me of Jackson Pollack like you stated previously. His abstraction of form harkens back to cave paintings in their simplicity and is free flowing.

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Jaylen -The Line Between Figuration and Abstraction

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Jaylen -The Line Between Figuration and Abstraction

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Figuration sought to abstract the human form at a time after war, contorting and morphing the body serves as a rejection of reality and its hardships. Abstraction used color to do this, think of the Cobra group and their abstract expressionism. They sought to reject the traditional notions of art and in doing so resorted back to shapes and patterns.

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I had an understanding of Gutai coming into the school but explored it further for a class. It’s the very definition of “let the work create itself” not imparting any distortion of the material you use. It’s possibly one of my favorite forms of art, along with the movement.

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Forest:The line between figuration and abstraction

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Forest:The line between figuration and abstraction

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Both Figuration and Abstraction in this era surround aspects of the physical, be it movement or physical traits of the person. I find Figuration fascinating as the idea behind it, being the disfigurement of people being turned into art, could be used to do so much good in terms of disabled artists expressing themselves. Abstraction was more about the playing of texture and the act of painting in itself.

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I personally love the use of turning physical disfigurations into art. I've not seen many of Francis Bacon's pieces until now but I find them thoroughly enjoyable as someone who is currently struggling with mental illness. There's something so endlessly horrifying about being depressed. It's like being in a coma where you have awareness of your surrounding but feel like you can't do anything, so you just keep sinking as the world crumbles completely outside of your control. Drawing mutilation and horrifically uncanny contortion of blank bodies expresses those feeling better than I tried to do just now with words.

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When viewing the performance piece by Saburo Murakami, I was reminded of Yoko Ono in her performance art. It does feel like a call to Gutai which makes sense as she was born in 33 and would have lived through WWII. The idea that the making of the artwork could be in itself considered artwork is something that I struggle with experimenting around. There are times when drawing that I was start crying because of the subject matter mixing with the music I listen to, and drawing in front of an audience would put way to much stress on me to really relax and draw as I normally would.

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I loved learning about Dadaism and got to see an example of it in the 1972 film "Cabaret." Seeing Neo-dadaism incorporating more music and dance into their art reminds me of The Blue Man Group it just leans into the absurd and randomness of life through sound and movement as forms of expressions. I genuinely love Dadaism, it's almost like nihilism but more hopeful or silly.

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I remember the first time I saw Kazuo’s work, it was during my first semester here at saic. I was immediately overtaken by it- abstract work is not something I connect to usually, but his really stuck with me and I make sure to go see his work in the aic regularly.

I never knew the context behind his work, knowing it now I see his paintings in an entirely new light. It is haunting in a way to think about but I believe that feeling is intentional and important. His work instills a sense empathy into his audience, something I deeply admire and wish to achieve in my own practice.

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My favorite piece from this lecture would be 7000 oaks. Seeing something like this occur way before climate changes reached the level that it’s at now is such a strange feeling… while I know of course climate was not the thought behind this piece, it still somewhat is because it’s creating a healthier community for new residents to inhabit after the war. I often forget that one of the very serious effects of war is when land becomes completely inhabitable for humans, animals, and any sort of plant life. It becomes impossible to sustain any amount of life … it’s a deeply saddening thought I often have, but seeing this genuine attempt of providing a nicer world for the current traumatized generation, and future generations, is touching.

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Neo-Dada was extremely interesting to me this week because of what it stood for. It simultaneously mocked and celebrated consumer culture, united opposing conventions of abstraction and realism, and disregarded boundaries between media through experimentation with assemblage and other modern forms of literary art making.

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Sareen's response to Alice Neel presentation

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Sareen's response to Alice Neel presentation

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Alice Neel's style is so alluring. I love when human rights is the subject matter in art and different interpretations of such. I do also enjoy the quote you incorporated from Neel's website. Though, it strikes me as interesting because humans are typically praised especially when it comes to technological advancements. I do understand this when in relation, though, to specific groups and cultures.

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I honestly found myself to be interested in Francis Bacon's art because I liked the semi- gruesome and uneasy feelings it gives the viewers. I think it does a great job at portraying mental illness and the feeling of hopelessness that comes along with it.

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Performance art stood out to me because it's typically something that I've been fairly antagonistic about for most of my artistic career because it seems "too performative" to me--which is the point of performance art-- but learning about the process of it all made me see it from a different perspective.

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It was interesting to learn more about neo-dadaism and its comparison to dadaism. As I stated about performance art before, I also tend to feel sort of antagonistic to art that has a huge "performance" aspect to it, but again once I was exposed to more of the "why" I was able to understand it a bit better.

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This was a well made video! I liked learning about the Cobra movement, and why Appel painted the way he did; keeping in mind of childlike mindsets when it comes to mindless art making.

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What is the line between the two? - Sareen

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What is the line between the two? - Sareen

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In regards to figuration, we're dealing more with the human body and how artist, especially those with first hand trauma and pain from the war, reflected on such. Figuration was an art style that would depict the human figure in a violated and mutilated state. Now, abstraction was dealing more randomized composition and subject matter. Though still extremely suggestive, we're getting a flow of emotions only coherent to individual artist versus a body motivated piece,

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Personally, I enjoy cubism and art styles reflecting on such so Shadows on Stairs stood out very heavily to me. Seeing an image stripped to it's bare and translated into a simplistic image is so fascinating to me. I am very interested in word as image and a lot of the time, I have to take a word or an image and make a sort of translation (or really connection) between two worlds. When I saw the two images together I instantly got inspired!

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The idea of the "Happening" made me very eager and caught my attention! "It is art but seems closer to life" is such a beautiful quote that I will be adding into my quote jar. I was a little confused on how it would really be performed and so I thought of random flash dances but those are rehearsed over and over again. It's such a confusing and alluring idea. I feel like I'm attempting to place it in a box to make it more digestible for myself but it's literally just a Happening - as stated. In my own art, I strive to ensure my writing can reflect life itself that it almost becomes it so I enjoy this concept and would explore it more.

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yzhou451 response to "What stood out to you about this week's lecture?"

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yzhou451 response to "What stood out to you about this week's lecture?"

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Neo-dadaism is an uncanny coincidence to a larger movement. Specifically, how they used humor literally and un-seriously in their artworks to criticize most art movements before them. Neo-dadaism nevertheless borrowed from numerous civilizations without crediting them, including Zen.

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yzhou451 response to "What stood out to you about this week's lecture?"

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yzhou451 response to "What stood out to you about this week's lecture?"

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The work of Shiraga Kazuo titled "Challenging Mud" from 1955 stood out to me. The word "embodiment" corresponds to "taking form," and the commencement of the lecture led me to assume that there is a significant gap between the body's function as a channel and its function as an activity. It is not the case that the painters of Gutai create their works of art in sketching rooms and estate sales. They are always working to bring the body into a direct interaction with the substances, time and space, environment, and innovation, and they aim to dissolve the barriers that exist between art, the general public, and daily life.

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What is the line between figuration and abstraction in post-War European paintings?
The difference in how things are shown is the line between figuration and abstraction. Figuration is a way to show conflict or the physical feeling of anguish by making a body look strange in an indirect sense. The refusal of dimensional and logical systems is shown in the abstraction of art by the use of gestural abstraction.

What stood out
The part about Francis Bacon really stood out to me. The whole style of Francis Bacon's Painting of 1946 is very violent. It's original and scary and has a strong visual effect. The meat in the context is hanging up, and perspectives that look like the human body have been cut in half.

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Inga Gilbert Response "What is the line between figuration and abstraction in post-War European paintings?"

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Inga Gilbert Response "What is the line between figuration and abstraction in post-War European paintings?"

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The line between figuration and abstraction in post-War European paintings is often blurred. Many of the works created during this period combined elements of both, often creating a hybrid style that blended representational and abstract elements. This fusion of the two styles allowed artists to explore the boundaries of artistic expression and create unique and inventive works.

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Inga Gilbert response to What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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Inga Gilbert response to What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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The Gutai movement was a direct reaction against the devastation caused by the war and sought to create a new form of creative expression that could be used to explore the possibilities of the future. The Gutai artists were heavily influenced by the European avant-garde movements of the time, and sought to use their unique artistic style to create a new form of expression that was free from the restrictions of traditional Japanese art.The Gutai artists placed an emphasis on experimentation and the exploration of materials, and sought to use their art to express their feelings about the changes taking place in Japan after the war. Gutai artists experimented with a wide range of mediums, from oil paints to photography and performance art, and created pieces that pushed the boundaries of traditional art forms. The movement was also heavily influenced by the spiritual and philosophical aspects of Zen Buddhism, which encouraged the Gutai artists to explore the relationship between the artist and the material and to create works that could be seen as a reflection of their inner selves.What stands out to me about Gutai is its emphasis on experimentation and exploration. Unlike many other art movements, the Gutai artists were not afraid to challenge the conventions of traditional art and to explore new ways of expressing their feelings and ideas. They sought to create works that were not only aesthetically pleasing, but also meaningful in their exploration of the human condition. Gutai was an important movement in the development of contemporary art, and its influence can still be seen in the work of artists today.

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Inga Gilbert response to "American Art After WWI (Black Mountain College, Happenings, "Neo-Dada") + Fluxus"

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Inga Gilbert response to "American Art After WWI (Black Mountain College, Happenings, "Neo-Dada") + Fluxus"

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I find American Art After WWI to be a fascinating movement because of its commitment to experimentation and collaboration. The Black Mountain College, Happenings, and Neo-Dada all sought to push the boundaries of creativity in art and to explore the relationship between art and everyday life. The Fluxus movement in particular stands out to me because of its focus on performance art and its emphasis on audience participation. I'm interested in exploring how these movements have shaped the way we think about art today and how they have paved the way for more experimental and interactive forms of art.

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Yichen Wei Response to What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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Yichen Wei Response to What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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I like jean fautrier's work respond to the war. The way the artist portray the painting into human's head really is an interesting way to abstract the concept. The brush stroke did create a thickness to the painting, which represents the struggle. The dark value and the lines of the painting did create a trauma feeling. It creates a depressing atmosphere for the audience which is attracting to me.

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Yichen Wei response to What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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Yichen Wei response to What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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I really like the Gutai produced by kazuo. The material of the artwork is what I never thought of. The way the artist use earth, mud and even himself is very shocking to me. The way I look at the artwork is how he express the struggleness of people in society. That by moving things around still nothing changes but leaves a mess. I believe the performance art have to stages and they should be separate. The first stage that the performance is the artwork and the second stage the documentation is the artwork. Both target different audience and should be different artwork.

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Yichen Wei response to What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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Yichen Wei response to What stood out to you about this week's lecture? Use this space to post your response to any of the artists or themes.

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The white painting made by rauschenburg stood out to me. The painting itself is not really my favorite but the concept that involving light and shadow to the canvas as screen is a great concept for the artwork. When I look at museum exhibition there is specific lights put on the artwork to make it look nice. If this strategy is involved in the artwork it will be even better. However, I do question about the later exhibition for this artwork. Without the artist, how are they going to duplicate the idea?

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Yichen Wei response to Emily Skelton on Alice Neel

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Yichen Wei response to Emily Skelton on Alice Neel

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I really like the artwork made by the artist. What stood out to me is the big difference in her development of artwork. The first painting is a united warm ground color painting and all of a sudden change to a more illustration like artwork. Then she painted in a much clear and colder way compare to the first painting. The big changes on development is very attracting to me.

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This is an excellent presentation on Alice Neel and her work. The influence from expressionism is really obvious in some of her paintings. I like her painting "Jackie Curtis and Ritta Redd" 1970. However, it was surprising to learn that one of her partners destroyed hundreds of her drawings and paintings!

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Alice Neel is one of my favorite artists, you did such a great presentation on her! I enjoyed the entire thing. I also learned a few new things about her and saw some work I haven’t seen yet. I love how much depth you provided for each piece, you also picked out vocal point pieces from various times in her career. It really goes to show how much Alice Neel’s art changed and evolved over the years.