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Appropriation has been a prominent feature to modernism in art. It is the act of borrowing or altering preexisting ideas or techniques and presenting them with a different purpose. Appropriation varied greatly from cultural appropriation (beginning with Primitivism) to appropriation in pop culture.

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Paul Gauguin
(1848-1903)
French

Robert Colescott
(1925-2009)
American

Vincent van Gogh
(1853-1890)
Dutch

Bruce Nauman
b. 1941
American

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Paul Gauguin

Nave nave fenua (Delightful Land) from Noa Noa (Fragrant Scent), 1893–94

Woodcut

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Robert Colescott
George Washington Carver Crossing the Delaware: Page from an American History Textbook, 1975

Acrylic on Canvas

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Vincent van Gogh
Bridge in the Rain (After Hiroshige), 1887
Oil on canvas

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Bruce Nauman
Self-Portrait as a Fountain, 1966-70
Color Photograph, Edition of eight

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Terrific, Sammi, and you are way ahead of the game.
I am fascinated with "elements of stylistic repetition." I totally see what you are saying with your illustrations. But I am not convinced that it is necessarily a "modern" thing to express forms as a pattern or series of units. Perhaps, though, modern artists are thinking more about the actual process of creating forms? Instead of approaching them in a plastic, almost "sculptural" way (illusionism) they are

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Principle #4: New Attitude Towards Color

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Principle #4: New Attitude Towards Color

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Modernist artists began using much more vibrant, saturated colors by often using paint directly from the tube. The resulting bright, unblended colors often reflected the artist's emotion, technique, and/or style.

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Stuart Davis
(1892-1964)
American

Gino Severini
(1883-1966)
Italian

Kenny Scharf
b. 1958
American

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Stuart Davis
Swing Landscape, 1938
Oil on canvas

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Gino Severni
Dancer = Propeller = Sea, 1915
Oil on canvas

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Kenny Scharf
When the Two Worlds Collide, 1984
Oil and acrylic spray paint on canvas

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Many modernist artists demonstrated nonchalance towards representational depictions of subject matters and gravitated more towards the deconstruction of space, form, color, brushstrokes, and/or ideas. This elimination of traditional elements of art developed a refreshing relationship between the viewers and the artwork.

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Cy Twombly
(1928-2011)
American

Roy Lichtenstein
(1923-1997)
American

Liubov Popova
(1889-1924)
Russian

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Cy Twombly
Untitled, 1953

Wood, wire, twine, nails, and house paint, with wax on fabric

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Roy Lichtenstein
Woman III, 1982

Oil and Magna on canvas

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Liubov Popova
Composition with Figures, 1913
Oil on canvas

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Principle #2:  Embodying Elements of Stylistic Repetition

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Principle #2:  Embodying Elements of Stylistic Repetition

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Many modernist artworks embody a stylistic repetition of patterns, brushstrokes, shapes, and/or subject matters. This method of repetition helped artworks represent the fundamental characteristics of the modernist movement in which the artwork belong in. This principle is specifically more identifiable in movements such as decorative arts, Cubism, Post-Impressionism, and Futurism.

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Principle #1: Empowerment of the "Underdogs"--Rejecting the Traditional Subjects of Art

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Principle #1: Empowerment of the "Underdogs"--Rejecting the Traditional Subjects of Art

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Modernist artists abandoned the conventional practice of depicting traditional, elite subjects along with the notion of art as delicate, high society, and privileged. Instead, their interest lied in the depiction of underrepresented subject matters such as women, children, common people, and everyday objects. These "underdogs" were often empowered through a gaze, gesture, or presentation of defiance, challenging the viewer's concept of art or what should be considered art.

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Édouard Manet
(1883-1832)
French

(Henri-Robert-) Marcel Duchamp
(1887-1968)
French

Sally Mann

b. 1951
American

Alice Hartley Neel

(1900-1984)

American

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1. Padlet wall set up: 10/10
2. Professor/TA are able to post comments on wall: 5/5
3. 3 printed books or journals, Decker Library in bibliography: 30/30
4. 1 article from Oxford Art Online in bibliography: 10/10
5. 1 appropriate resource of choice in bibliography: 10/10
6. 5 well-written, helpful, brief annotations: 25/25
Total points: 100/100

Unexcused lateness: 2 per day (24 hrs from time due), no maximum, until assignment is complete
Failure to use correct Chicago Manual Style format in bibliography: 2 per incorrect entry
Total deductions: 0
Total points for assignment: 100/100

Comments:
Good job with the first assignment, cheers!

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Chuck Close
b. 1940
American

Paul Signac
(1863-1935)
French

Pablo Picasso
(1881-1973)
Spanish

Giacomo Balla
(1871-1958)
Italian

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Sally Mann
The New Mothers, 1989
Gelatin-silver print

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1. Arnason, H. H., and Mansfield, C. Elizabeth. History of Modern Art: Painting, Sculpture, Architecture, and Photography.  7th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2013.

Arnason and Mansfield’s book offers numerous high resolution, uncropped images of the artworks produced during the modernist era (1860-1999). It also effectively associate artists with movements in a chronological matter while encompassing a wide medium of the art types such as paintings, sculpture, architecture, and photography. This textbook is highly accessible (there are 4 copies at the Decker library) and will be of great use for exposure to multiple artists and artworks of various mediums during specific eras.

2. Clay, Jean. From Impressionism to Modern Art. New Jersey: Chartwell Books Inc., 1978.

Jean’s book offers paragraph length, effective summaries of movements and large images of the modernist artworks. The author contributes thoughtful analysis on the artists and works she presents. It is a useful book when in need of assistance for a close-examination and analysis of a certain movement. Found in the Decker Library.

3. Joachimides, M. Christos, and Rosenthal, Norman (Ed.). The Age of Modernism Art in the 20th Century. Martin-Gropius-Bau:Stiftung Deutsche Klassenlotterie,1997.

This book, written by multiple authors and edited by Joachimides and Rosenthal, is a publication of the exhibition The Age of Modernism - Art in the 20th Century  held at Berlin in 1997. The book offers lists of the artists and large, high resolution images of their works, categorized into different concepts of the modernist era such as  reality- distortion, abstraction- spirituality, and dream- myth. A large section at the end of the book is dedicated to the biographies of the artists of the exhibition. Also available at the Decker Library.

4. “Modernism.” Grove Art Online. Oxford Art Online. Oxford University Press, accessed September 07, 2017.

http://www.oxfordartonline.com/subscriber/article/grove/art/T058785?q=modernism+&search=quick&pos=1&_start=1&size=100#firsthit

This web article offers a brief summary of the history of modernism, its artistic developments, and an interpretation of modernism. The bibliography at the end of the article suggests other useful sources for more knowledge on the topic.

5. “What is Modern Art?”Powerpoint Presentation. MoMA Learning, accessed September 07, 2017.

https://www.moma.org/learn/moma_learning/themes/what-is-modern-art#

This powerpoint found on the website of MoMA Learning summarizes modernism’s history in brief, bullet pointed slides. Numerous questions are offered to challenge the students to analyze a modernist artwork through the lens of the artist. Lastly, multiple comparisons of artworks are presented to illustrate an instance of how one movement has affected its subsequent ones.

6. Wood, Paul. Varieties of Modernism. New Haven: Yale University Press in association with the Open University, 2004.

Wood’s book includes detailed narratives of the environments of artists during particular movements, suggesting the possible influences they may have adopted. Plenty of annotations, references, images, and conclusions are presented. As the name suggests, is a good read for researching the different varieties of modernism. Found at the Decker Library.

7. Edlis|Neeson Collection. Chicago: The Art Institute of Chicago., 2015.
8. “Pop Art” Moma Learning, accessed November 12, 2017.

https://www.moma.org/learn/moma_learning/themes/pop-art/appropriation

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Marcel Duchamp
Fountain, 1917
Porcelain urinal

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Giacomo Balla
Street Light, 1909
Oil on canvas

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Pablo Picasso
Girl Before a Mirror, 1932
Oil on canvas

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Édouard Manet
Olympia, 1863
Oil om Canvas

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Paul Signac
Opus 217. Against the Enamel of a Background Rhythmic with Beats
and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890, 1890
Oil on canvas

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Alice Neel
Nancy and the Twins, 1971
Oil on canvas

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Chuck Close
Self-Portrait, 1991
Oil on canvas

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George Bellows
Cliff Dwellers, 1913
Oil on canvas