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Zines have an interesting context that pertain to the art world. As an informal source of information, it's use is accessibility and ability to out-source information. Zines context can range from personal creativity to activist groups. The core of these themes run from police brutality, mass incarceration, food or narrative.

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Deception! Now that is one of the cooler principles. Love your stuff here.
EC 6 Dec

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Harrison, Birge. "Art and the European War." The American Magazine of Art 7, no. 7 (1916): 270-72. http://www.jstor.org/stable/20559423.

"School of Fine Forgeries." Fine Arts Journal 36, no. 10 (1918): 41-43. http://www.jstor.org/stable/25587595.

Stevenson, W. J. "Fraudulent Art." The Lotus Magazine 8, no. 5 (1917): 224-28. http://www.jstor.org/stable/20543843.

DUCHAMP, MARCEL, TRISTAN TZARA, and DOROTHY NORMAN. "TWO CONVERSATIONS: MARCEL DUCHAMP AND TRISTAN TZARA." The Yale University Library Gazette 60, no. 1/2 (1985): 77-80. http://www.jstor.org/stable/40858878.

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Marcel Duchamp, 'Bicycle Wheel' (1951)
Piet Mondrian, 'Composition with Red, Blue, Yellow' (1930)
Edouard Manet, 'Olympia' (1863)
Claude Monet, 'Rouen Cathedral series' (1892-1894)
Elmyr de Hory, 'Portrait of a Women in the Style of Modigliani (1975)

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Pablo Picasso (1881-1973)
Claud Monet (1840-1926)
Frida Khalo (1907-1954)
Max Ernst (1891-1976)
Martin Johnson Heade (1819-1904)
Jean-Michel Basquiat (1960-1988)
Vincent Van Gogh (1853-1890)
Amedeo Modigliani (1884-1920)
Marcel Duchamp (1887-1968)
Karel Appel (1921-2006

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The first key factory to any movement is new advances in technology in wars, society and general way of life. However, "modernism" is very much a western concept, in Europe with dominant countries like France or Germany that have a thriving culture on the arts. Of these key features, the role of women become a challenged concept not just in the art world but in politics, making social changed and bringing new ways of thinking. Finally, deception and repetition, which work together as "self acclaimed" artists copy, add and improvise to already known modernist art.

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Technological: works that pushed color theory
Deception: how far a thought can be pushed
Women: as the subject become more grotesque
Location: influential areas, politically influential places in Europe
Repetition: the copy of, idea based/an artists focus

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Deception is a key factor in the art world. The ability to sell your work is based on the "eye of the beholder". But if another artist could re-imagine themselves as another to create bodies works that could fool the art world. Max Ernst (among others) was an unfortunate figure to have been copied, by German painter Wolfgang Beltracchi had forged over 58 works (featured in established museums) but was arrested for only 14. Among the many names to surface as Art Forgers, deception is a key element that has played a large role in art history. As modern works, they are easier to copy due to chemical components compared to a renaissance painting due to carbon dating. Forgers rarely enter the art world, but always end up as celebrities.

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This is all good but what it isn't is a list of principles with works that illustrates the principles. I think your ideas are implicit, more or less, but you need to state them clearly and directly.
EC 14 Nov

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Dating back to artists in the renaissance and possible further back, the use of three women in paintings have become a common theme all throughout. In it's original context, the subject of three nude women would appear as deities of mythological stories, like that of the Judgement of Paris to Cézanne's work of the 'Three Bathers'. In earlier works, the three female forms were represented as idealized, unattainable yet desirable, however through 'Modernism' that idea begins to reverse as the women become more aggressive in their appearance, dangerous yet they call out to us as a dare.

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Pablo Picasso is a dominant figure in the context of modernism. Here, camera's are making a entrance into the art world. A technique that came out of cameras was a continuous exposure, in a relatively dark room and with the use of a powerful light source (like a flashlight) allowed light to be caught making drawings. Through this new technology that was still parallel painting, Picasso has taken something and used it as both machine and man working together.

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What's fascinating and arguable successful about artists like Frida Kahlo, is the driven emotion that pushes the boundaries of art. In that context, emotion becomes a tool of modernism, the raw emotion of pain, agony or sadness become apparent in the energy of Kahlo's work.

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An exhibition at the Philadelphia Museum of Art. This show features works on the Revolution that shaped the 'modern' of Mexico.

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Philadelphia Museum of Art - Exhibitions - Paint the Revolution: Mexican Modernism, 1910-1950

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From the start of the Mexican Revolution to the aftermath of World War II, artists and intellectuals in Mexico were at the center of a great debate about their country's destiny.

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'Starry Night' is one of Van Gogh's most fascinating paintings. As this piece is marked as post-impressionism is carries much of the same characteristics. While, not accurately capturing color shifts at night, Van Gogh's expressive brushworks allow for the movement of night, the impression or atmosphere of the sky and the huddled town below. While the direction of the light is carried by the intensity of the stars.

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Painted by Claude Monet in 1840-1926, this painting is an early example of Impressionist painting. By painting in "the open air", Monet began to capture moments in time, and more importantly the shifting light.

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You have two really interesting things here. Both are about vulgarity in some sense. Is "vulgarity" a principle of modernism? Look the word up. Use a really good dictionary like the Oxford English Dictionary (OED) that is on the Decker research databases page. Read all the usages.

And let's move forward. What else seems to be a common denominator of modern art?

EC

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Artist Paul Outerbridge and the Avant-Gaurd

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History can be an unreliable narrator. Paul Outerbridge was once a major force in photography, straddling the worlds of commerce and art. He shared European assignments for Vogue with Edward Steichen, and in 1929 became the second photographer to have his work acquired by the Metropolitan Museum of Art. But he died in obscurity in 1958, at the age of sixty-one. In 2009, the Getty Museum reintroduced Outerbridge to Los Angeles with a major retrospective. Now a fine show at the Bruce Silverstein Gallery gives New Yorkers a turn.

Born to a wealthy family in New York City, Outerbridge began his formal study of photography in 1921, after a stint in the Army and a failed attempt at a Hollywood acting career. A year later, his black-and-white still-life of a shirt collar-an elegant triumph of angles and curves, in which ordinary drifts into strange-was published in Vanity Fair. Marcel Duchamp was so impressed with the image that he tore the page from the magazine and pinned it to his studio wall.

One reason that Outerbridge fell from the spotlight may be hard to fathom in the Instagram age: he was a pioneer of color photography. In the nineteen-thirties, after a decade of finessing the chiaroscuro subtleties of black-and-white, he mastered carbro color printing, an intricate, now obsolete process favored by magazines and Madison Avenue. (Outerbridge literally wrote the book on the subject: "Photographing in Color," which was published by Random House, in 1940.) He ran a thriving studio and brought an avant-gardist's sense of composition to even the most apparently banal endeavors. Seen through his eyes, an assortment of striped beach equipment attains nearly Cubist levels of fragmentary complexity.

For decades, there was an inviolable rule in camera-arts connoisseurship: color was vulgar. As the Museum of Modern Art's legendary photography curator John Szarkowski wrote, "Professionals used color when they were paid to, doing their very best without knowing quite what they meant by that. Considering the lack of enthusiasm and confidence with which most ambitious photographers have regarded color, it is not surprising that most work in the medium has been puerile." The point-and-shoot ease of the Instamatic camera only made matters worse: any amateur at a picnic could call himself a photographer. (Szarkowski made an exception for William Eggleston, who, in 1976, became the first color photographer to have a solo exhibition at MOMA.)

One version of the story has Outerbridge relegated to the footnotes of art history because he championed experimentation in color over the purist pursuit of black-and-white. He also failed to adapt when the less expensive Kodachrome dye-transfer process replaced carbro printing, and his studio business dried up. He moved to Los Angeles for a career change, having been promised a job as a cinematographer that never panned out. But stories have shadows, and there was also the matter of Outerbridge's nudes. He believed that the fullest expression of the new color process was the study of the female body-but, again, what was tasteful in black-and-white was considered unseemly in color. (One glimpse, in this slide show, at a supine model and her strategically placed kitten makes it clear that there was more to his impulse than true-to-life flesh tones.) Almost none of Outerbridge's erotic pictures were shown in his lifetime. They remain among his most striking works.

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When Color Was Vulgar: Paul Outerbridge's Avant-Gardist's Eye

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History can be an unreliable narrator. Paul Outerbridge was once a major force in photography, straddling the worlds of commerce and art. He shared European assignments for Vogue with Edward Steichen, and in 1929 became the second photographer to have his work acquired by the Metropolitan Museum of Art.

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Featured at the Guggenheim Museum (New York City)

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Five years ago, the artist Maurizio Cattelan announced his retirement from art by hanging virtually everything he had done-a hundred and twenty-eight startling objects and images-from the skylight at the top of the Guggenheim Museum's spiral atrium. This week, in a small rest room about two-thirds of the way up the spiral, the Guggenheim installed the first work of his un-retirement: a celestially glowing, fully functional, eighteen-karat solid-gold toilet. When the work goes public on Friday, a uniformed guard will be standing by the door to answer questions, and also, shall we say, to discourage souvenir takers. A discreet label on the wall outside provides the title, "America."

Not since Marcel Duchamp submitted a porcelain urinal for exhibition at the 1917 Society of Independent Artists show has a plumbing fixture been so ennobled. That one was never shown-the exhibiting committee decided to hide it behind a screen-but Cattelan's will remain on view, and in use, for an indefinite period. Decades, maybe, if a donor can be found to buy it. The toilet seat is really heavy to lift, but that shouldn't deter serious art lovers. Nothing Cattelan has done pre-retirement is more drop-dead beautiful, although his sculpture of Pope John Paul II lying on the floor in full papal regalia, felled by a jagged meteorite, comes close. And, for viewers who crave a one-to-one relationship with art, this piece cannot be topped.

Cattelan himself, tall and saturnine in slim jeans and a salmon-colored shirt, was on hand for last-minute activities on the day before the press opening. A film crew recorded a ceremonial cleaning of the sculpture by Richard Armstrong, the Guggenheim's director. "I'm not very good at plumbing," he said, grinning broadly. "What I cared about most was that it be intellectually defensible, and that it engages a big audience in a variety of ideas." Cattelan was avoiding the camera. He kept putting his head around the screened-off area surrounding the rest room, urging people to use the fixture. ("You can be the first!") The toilet is an exact replica of the one that used to be there, but it looks a lot more powerful. What Cattelan seemed to like best was its democratic appeal. "Whatever you eat, a two-hundred-dollar lunch or a two-dollar hot dog, the results are the same, toilet-wise," he said.

Nancy Spector, the Guggenheim's former chief curator, arrived with the artist Rirkrit Tiravanija. Asked if he would like to be the first to use the facility, Tiravanija smiled. "I actually need it," he said. He entered the rest room and closed the door. When he came out, Cattelan asked him if the familiar experience had been different. "Exactly," Tiravanija said.

Nathan Otterson, the museum's senior conservator of objects, was asked about special maintenance problems for the new work of art. "Well," he said, "we're changing the cleaning materials we use normally. Someone from our regular cleaning staff will come by every fifteen minutes, and they'll use special wipes, like medical wipes, that don't have any fragrance or color or oxidizers. And we have a steam cleaner that we'll use periodically. The color is going to change, and we'll probably be brightening the toilet up with polish along the way."

Cattelan put his arm around Otterson's shoulder. "They'll use Bulgari wipes, and Chanel powder," he said. "Nathan knows everything about how to maintain this object."

"We worked together on Maurizio's 2011 retrospective," Otterson said, looking very pleased. "I have experience with him, and a lot of problem-solving."

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Five years ago, the artist Maurizio Cattelan announced his retirement from art by hanging virtually everything he had done-a hundred and twenty-eight startling objects and images-from the skylight at the top of the Guggenheim Museum's spiral atrium.

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Definitely a space for free-forming thoughts, art and more!