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The Decline of Western Civilization - Part 3: Gutter Punks (Complete Documentary)

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Andy Warhol (; born Andrew Warhola Jr.; August 6, 1928 - February 22, 1987) was an American visual artist, film director, producer, and leading figure in the pop art movement. His works explore the relationship between artistic expression, advertising, and celebrity culture that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best-known works include the silkscreen paintings Campbell's Soup Cans (1962) and Marilyn Diptych (1962), the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966-67).

Born and raised in Pittsburgh, Warhol initially pursued a successful career as a commercial illustrator. After exhibiting his work in several galleries in the late 1950s, he began to receive recognition as an influential and controversial artist. His New York studio, The Factory, became a well-known gathering place that brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities, and wealthy patrons. He promoted a collection of personalities known as Warhol superstars, and is credited with inspiring the widely used expression "15 minutes of fame".

In the late 1960s, he managed and produced the experimental rock band The Velvet Underground and founded Interview magazine. He authored numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. He lived openly as a gay man before the gay liberation movement. In June 1968, he was almost killed by radical feminist Valerie Solanas, who shot him inside his studio. After gallbladder surgery, Warhol died of cardiac arrhythmia in February 1987 at the age of 58 in New York City.

Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. The Andy Warhol Museum in his native city of Pittsburgh, which holds an extensive permanent collection of art and archives, is the largest museum in the United States dedicated to a single artist. Warhol has been described as the "bellwether of the art market". Many of his creations are very collectible and highly valuable. His works include some of the most expensive paintings ever sold. In 2013, a 1963 serigraph titled Silver Car Crash (Double Disaster) sold for $105 million. In 2022, Shot Sage Blue Marilyn (1964) sold for $195 million, which is the most expensive work of art sold at auction by an American artist.

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Tate glossary definition for surrealism: Movement, which began in the 1920s, of writers and artists who experimented with ways of unleashing the subconscious imagination

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Learn about Salvador Dali: The man. The master. The marvel. Salvador Dalí is one of the most celebrated artists of all time.

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Alexander Rodchenko was a founding member of Russian Constructivism-the avant-garde movement characterized by unembellished abstraction- along with Vladimir Tatlin. He was known for his politically motivated photography, posters, paintings, and sculpture. "The avant-garde of Communist culture is obligated to show how and what needs to be photographed," he said of the medium. "What to shoot-is something every photo group knows but how to shoot-only a few know."Born on November 23, 1891 in St. Petersburg, Russia, he studied drawing and painting at the Kazan School of Fine Arts and architecture at the Stroganov School of Applied Art. An early influence came from Kazimir Malevich, whose Suprematist style contributed to Rodchenko's adoption of an austere aesthetic and use of materials. In the late 1920s, he joined the October group, with members Diego Rivera, Gustav Klutsis, and Sergei Eisenstein, furthering his commitment to creating art for the working classes. Rodchenko died on December 3, 1956 in Moscow, Soviet Union. Today, his works are held in the collections of The Museum of Modern Art in New York, the Museum Ludwig in Cologne, and the Art Institute of Chicago, among others.

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Alexander Rodchenko was a founding member of Russian Constructivism-the avant-garde movement characterized by unembellished abstraction- along with Vladimir Tatlin. View Alexander Rodchenko's 1,289 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices.

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Introduction

The abstract expressionists were mostly based in New York City, and also became known as the New York school. The name evokes their aim to make art that while abstract was also expressive or emotional in its effect. They were inspired by the surrealist idea that art should come from the unconscious mind, and by the automatism of artist Joan Miró.

TYPES OF ABSTRACT EXPRESSIONISM

Within abstract expressionism were two broad groupings: the so-called action painters, who attacked their canvases with expressive brush strokes; and the colour field painters who filled their canvases with large areas of a single colour.

The action painters were led by Jackson Pollock and Willem de Kooning, who worked in a spontaneous improvisatory manner often using large brushes to make sweeping gestural marks. Pollock famously placed his canvas on the ground and danced around it pouring paint from the can or trailing it from the brush or a stick. In this way the action painters directly placed their inner impulses onto the canvas.

The second grouping included Mark Rothko, Barnett Newman and Clyfford Still. They were deeply interested in religion and myth and created simple compositions with large areas of colour intended to produce a contemplative or meditational response in the viewer. In an essay written in 1948 Barnett Newmann said: 'Instead of making cathedrals out of Christ, man, or ''life'', we are making it out of ourselves, out of our own feelings'. This approach to painting developed from around 1960 into what became known as colour field painting, characterised by artists using large areas of more or less a single flat colour.

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Tate glossary definition for abstract expressionism: Term applied to new forms of abstract art developed by American painters in 1940s and 1950s, often characterized by gestural brush-strokes or mark-making, and the impression of spontaneity

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This is a website which is named after a famous abstract expressionism artist, Jason Pollock. The website contains a blank page where you can then drag your mouse along and create art, which fits into the art movement.

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Dada artists felt the war called into question every aspect of a society capable of starting and then prolonging it - including its art. Their aim was to destroy traditional values in art and to create a new art to replace the old. As the artist Hans Arp later wrote:

In addition to being anti-war, dada was also anti-bourgeois and had political affinities with the radical left.

The founder of dada was a writer, Hugo Ball. In 1916 he started a satirical night-club in Zurich, the Cabaret Voltaire, and a magazine which, wrote Ball, 'will bear the name "Dada". Dada, Dada, Dada, Dada.' This was the first of many dada publications. Dada became an international movement and eventually formed the basis of surrealism in Paris after the war.

Leading artists associated with it include Arp, Marcel Duchamp, Francis Picabia and Kurt Schwitters. Duchamp's questioning of the fundamentals of Western art had a profound subsequent influence.

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Tate glossary definition for dada: Art movement formed during the First World War in Zurich in negative reaction to the horrors and folly of the war often satirical and nonsensical in nature

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Man Ray - photography, paintings, biography of Man Ray

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Minimalism or minimalist art can be seen as extending the abstract idea that art should have its own reality and not be an imitation of some other thing. We usually think of art as representing an aspect of the real world (a landscape, a person, or even a tin of soup!); or reflecting an experience such as an emotion or feeling. With minimalism, no attempt is made to represent an outside reality, the artist wants the viewer to respond only to what is in front of them. The medium, (or material) from which it is made, and the form of the work is the reality. Minimalist painter Frank Stella famously said about his paintings 'What you see is what you see'.

The development of minimalism

Minimalism emerged in the late 1950s when artists such as Frank Stella, whose Black Paintings were exhibited at the Museum of Modern Art in New York in 1959, began to turn away from the gestural art of the previous generation. It flourished in the 1960s and 1970s with Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin and Robert Morris becoming the movement's most important innovators.

The development of minimalism is linked to that of conceptual art (which also flourished in the 1960s and 1970s). Both movements challenged the existing structures for making, disseminating and viewing art and argued that the importance given to the art object is misplaced and leads to a rigid and elitist art world which only the privileged few can afford to enjoy

Qualities of minimalist art

Aesthetically, minimalist art offers a highly purified form of beauty. It can also be seen as representing such qualities as truth (because it does not pretend to be anything other than what it is), order, simplicity and harmony.

Read the image captions of the artworks below to find out about some of the key qualities of minimalist art:

Minimalism and early abstraction

Although radical, and rejecting many of the concerns of the immediately preceding abstract expressionist movement, earlier abstract movements were an important influence on the ideas and techniques of minimalism. In 1962 the first English-language book about the Russian avant-garde, Camilla Gray's The Great Experiment in Art: 1863-1922, was published. With this publication, the concerns of the Russian constructivist and suprematist movements of the 1910s and 1920s, such as the reduction of artworks to their essential structure and use of factory production techniques, became more widely understood - and clearly inspired minimalist sculptors. Dan Flavin produced a series of works entitled Homages to Vladimir Tatlin (begun in 1964); Robert Morris alluded to Tatlin and Rodchenko in his Notes on Sculpture; and Donald Judd's essays on Kazimir Malevich and his contemporaries, revealed his fascination with this avant-garde legacy.

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Tate glossary definition for minimalism: Extreme form of abstract art developed in the USA in the second half of the 1960s and typified by artworks made in very simple geometric shapes based on the square and the rectangle

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2019 Rosen, Barry (ed.), 'Eva Hesse. Oberlin Drawings. Drawings in the Collection of the Allen Memorial Art Museum, Oberlin College', Zurich: Hauser & Wirth Publishers, 2019, ill.

2018 Schwartz, Dieter, 'Eva Hesse. Arrows and Boxes, Repeated', New York: Craig F. Starr Gallery, 2018, ill. (exh. cat.)

2016 Rosen, Barry, Bloomberg Tamara (eds.), 'Eva Hesse. Diaries', New Haven: Yale University Press, London: Hauser & Wirth Publishers, 2016

2015 Swenson, Kirsten, 'Irrational Judgments. Eva Hesse, Sol LeWitt, and 1960s New York', New Haven: Yale University Press, 2015, ill.

2014 Roberts, Veronica (ed.), 'Converging Lines. Eva Hesse and Sol LeWitt', New Haven: Yale University Press, Austin: Blanton Museum of Art, 2014, ill. (exh. cat.)

2013 Rosen, Barry (ed.), 'Eva Hesse 1965', New Haven: Yale University Press, London: Hauser & Wirth Publishers, 2013, ill. (exh. cat.)

2011 Roberts, Veronica, 'Eva Hesse and Sol LeWitt', New York: Craig F. Starr Gallery, 2011, ill. (exh. cat.)

2010 McKinnon, Luanne (ed.), 'Eva Hesse Spectres 1960', Albuquerque: University of New Mexico, New Haven: Yale University Press, 2010, ill. (exh. cat.)

2009 Fer, Briony (ed.), 'Eva Hesse. Studiowork', New Haven: Yale University Press, 2009, ill. (exh. cat.)

1985 Stoops, Susan, 'Eva Hesse: The Early Drawings and Selected Sculpture', Waltham: The Rose Art Museum/Brandeis University, 1985 (exh. cat.)

1982 Johnson, Ellen H., 'Eva Hesse A Retrospective of the Drawings', Oberlin: Allen Memorial Art Gallery/Oberlin College, 1982 (exh. cat.)

1976 Lippard, Lucy R., 'Eva Hesse', New York: New York University Press, 1976

1974 Shearer, Linda, 'Eva Hesse 1936 - 1970. An Exhibition of Sculpture and Drawings', London: Mayor Gallery, 1974, ill. (exh. cat.)

1972 Shearer, Linda, Pincus-Whitten, Robert, 'Eva Hesse. A Memorial Exhibition', New York: The Solomon R. Guggenheim Museum, 1972 (exh. cat.)

1965 Kunstverein für die Rheinlande und Westfalen, Kunsthalle Düsseldorf (ed.), 'Eva Hesse: Materialbilder und Zeichnungen', Düsseldorf: Kunstverein für die Rheinlande und Westfalen/Kunsthalle Düsseldorf, 1965 (exh. cat.)

2021 Delahunty, Gavin (ed.), 'Psychic Wounds. On Art & Trauma', New York: MW Editions, Dallas: The Warehouse, 2021 (exh. cat.)

2019 Kopp, Edourard, Elderfield, John, Shiff, Richard (et al.), 'Drawing Is Everything. Founding Gifts of the Menil Drawing Institute', Houston: The Menil Collection, 2019, pp. 90-91, ill.
Morill, Rebecca (ed.), Great Women Artists, London/New York: Phaidon Press Limited, 2019, p. 185, ill.
Lyle, Jenna, Mileaf, Janine (ed.), 'Thessia Machado. Toward the Unsound', Chicago: The Arts Club of Chicago, 2019, ill. (exh. cat.)

2005 Molesworth, Helen (ed.), 'Part Object. Part Sculpture', Columbus: Wexner Center for the Arts/The Ohio State University, 2005 (exh. cat.)

2001 Barron, Stephanie, Zelevansky, Lynn, 'Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collections', Los Angeles: Los Angeles County Museum of Art, New York: Harry N.Abrams, Inc., Publishers, 2001, p. 125, ill
Bocola, Sandro, 'Timeslines. Die Kunst der Moderne 1870-2000', Cologne: Taschen, 2001, pp. 122-130, ill.
Eidelberg, Martin, 'Design 1935-1965. What Modern Was. Selections from the Liliane and David M. Stewart Collection', Montreal/New York: Le Museé des Arts Décoratif de Montréal/ Harry N. Abrams, Inc, Publishers, 2001, pp. 280-284, ill.
Grosenick, Uta (ed.), 'Women Artists. Künstlerinnen im 20. Und 21. Jahrhundert', Cologne: Taschen, 2001, pp. 204-209, ill.
Rorimer, Anne (ed.), 'New Art in the 60s and 70s Redefining Reality', London: Thames&Hudson, 2001, pp. 20, 25-27, ill.
Schneede, Uwe M., 'Die Geschichte der Kunst im 20. Jahrhundert', Munich: Verlag C.H. Beck, 2001, pp. 223, 226, ill.
Schneegass, Christian, 'Minimal-concept. Zeichenhafte Sprachen im Raum', Berlin: Akademie der Künste, 2001, ill. (Abb. 113)
Sammlung Deutsche Bank, Grigoteit, Ariane (ed.), 'Ein Jahrhundert. One Century', Frankfurt: Deutsche Bank, 2001, pp. 132-133, ill.
Steinbrecher, Juliane (ed.), 'Timelines. The Art of Modernism 1870-2000', Cologne: Taschen, 2001, pp. 127, 128, 129, ill.
Whitechapel Art Gallery (ed.), 'The Whitechapel Art Gallery Centenary Review. 17 articles, 23 artists' pages, 198 images', London: Whitechapel Art Gallery, 2001, p. 114, ill.
Whitney Museum of American Art (ed.), 'American Visionaries. Selection from the Whitney Museum of American Art', New York, 2001, p. 138, ill.

2000 Meyer, James, 'Minimalism', London: Phaidon, 2000
Independent Curators International (ICI) (ed.), 'Beyond Preconceptions: The Sixties Experiment', New York: Independent Curators International Publication, 2000, ill. (exh. cat.)
Van Keuren, Philip, Werner H. Kramarsky, et al., 'On Drawing: A Conversation with Werner H. Kramarsky, Connie Butler, and Harry Cooper', Dallas: Pollock Gallery, Southern Methodist University, 2000, ill. ('Untitled', 1964, reproduced in color, pp. 12-13) (exh. cat.)
Blazwick, Iwona, Simon Wilson (eds.), 'Tate Modern: The Handbook', London: Tate Gallery Publishing Limited, 2000, p. 170, ill.
Fineberg, Jonathan, 'Art Since 1940: Strategies of Being', Englewood Cliffs: Prentice Hall, 2000 (Second Edition), pp. 311-313, 315, 318, 381, 437, 481, ill.
Keller, Eva, Peter Fischer (eds.), 'Daros', Zurich: Daros Services, 2000, pp. 38, ill.
Landay, Janet, 'The Museum of Fine Arts, Houston Visitors Guide', London/Wappingers Falls: Scala Publishers Ltd./Antique Collectors' Club, 2000, p. 131, ill. (Reproduction of 'Untitled', 1964, plate 4.22, p. 131)
Lauer, David A., Pentak, Stephen, 'Design Basics', Orlando: Harcourt Brace College Publishers, 2000, pp. 16, 96, ill.
Codognato, Mario, Coen, Ester (eds.), '99 Artisti della Collezione Marzona', London/Rome: West Zone Publishing/G.C.A.M.C. Galleria Comunale d'Arte Moderna e Contemporanea 2000, ill.
Williams, Richard J., 'After Modern Sculpture. Art in the United States and Europe 1965-70', Manchester/New York: Manchester University Press, 2000, pp. 3, 45, 50-55, 56, 89, ill.

1994 Arthur, John, 'Against All Odds: The Healing Powers of Art', Kanagawa-ken: Hakone Open-Air Museum, 1994
de Mèredieu, Florence, 'Histoire Matérielle & Immatérielle de l'Art Moderne', Paris: Bordas, 1994
Fineberg, Jonathan, 'Art Since 1940: Strategies of Being', Englewood Cliffs: Prentice-Hall, 1994
Weber, Fox, Nicholas, Paul Overy, et al., 'Josef Albers', London: The South Bank Centre, 1994
Sayre, Henry M., 'A World of Art', Englewood Cliffs: Prentice Hall, 1994

1991 Beesch, Ruth K., 'Height Length Width', Greensboro: Weatherspoon Art Gallery, The University of North Carolina at Greensboro, 1991 (exh. cat.)
Hoffman, Katherine, 'Explorations: The Visual Arts Since 1945', New York: Icon Editions, Harper Collins, 1991
Rogers-Lafferty, Ashton, et al., 'Breakthroughs: Avant-Garde Artists in Europe and American, 1950-90', New York: Rizzoli International Publications, 1991

1987 Krane, Susan, Evren, Robert (eds.), 'The Painting and Sculpture Collection: Acquisitions since 1972', Buffalo: Albright-Knox Art Gallery, New York: Hudson Hills Press, 1987

1986 Betti, Claudia, and Salee Teel, 'Drawing: A Contemporary Approach', New York: CBS College Publishing, 1986

1981 Parker, Rosy, Griselda Pollock, 'Old Mistresses: Women, Art and Ideology', London: Oresko Books, 1981, pp. 153, 156

1980 Endicott Barnett, Vivian, 'Handbook: The Guggenheim Museum Collection', 1900-1980, New York: Solomon R. Guggenheim Museum, 1980, pp. 514-515

1977 Krauss, Rosalind, 'Passages in Modern Sculpture', Cambridge: MIT Press, 1977

1975 Nemser, Cindy, 'Art Talk: Conversations with 12 Women Artists', New York: Charles Scribner's Sons, 1975

1973 Lippard, Lucy R., 'Six Years: The Dematerialization of the Art Object', New York: Praeger, 1973

1972 Bonito Oliva, Achille, 'El Territorio Magico: Comportamenti Alternativi dell'Arte', Florence: Centro di Edizioni, 1972, pp. 67, 111

1970 Owens-Corning Fiberglas Center (ed.), 'Tony Delap, Frank Gallo, Eva Hesse. Trio', New York: Owens-Corning Fiberglas Center, 1970 (exh. bro.)

1969 Prokopoff, Stephan S., 'Plastic and New Art', Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1969 (exh. cat.)
Varian, Elayne H. (ed.), 'Art in Process IV', New York: Finch College, 1969 (exh. cat.)
Celant, Germano, 'Arte Povera', Milan: Gabriele Mazzotta, 1969, pp. 56-60 [also published as: Art Povera: 'Earthworks-Impossible Art-Actual Art-Conceptual Art', New York: Praeger]

1968 Battock, Gregory (ed.), 'Minimal Art', New York: E.P. Dutton, 1968

2020 Smith, Roberta, Cotter, Holland, Farago, Jason (et al.), 'Best Art Books of 2020', on: nytimes.com, 26 November 2020, ill.
Cooper, Helen A., 'Making the Most Of Minimalism', in: Wall Street Journal, New York, 19 September 2020, ill.
Wagner, Anne, 'At Oberlin', in: London Review of Books, London, vol. 42, no. 15, 30 July 2020, ill.
Harris, Gareth, 'In Pictures. Eva Hesse and Hannah Wilke compared in new catalogue', on: theartnewspaper.com, 18 June 2020, ill.
Siegel, Harmon, 'Melvin Edwards Decides', in: American Art, Washington DC, vol. 34, no. 1, Spring 2020, pp. 86-111, ill.
Lesso, Rosie, 'Eva Hesse. The Life of a Ground Breaking Sculptor', on: www.thecollector.com, 2 April 2020, ill.
Christian, Re'al, 'dispersed holdings's Speed of Resin', on: brooklynrail.org, 5 March 2020
Elson, Simon, 'Eva Hesse in Wien' on: www.monopol-magazin.de, Berlin, 24 January 2020, ill.
Huber, Michael, 'Eva Hesse. Die mutigen Formen einer außergewöhnlichen Frau', on: www.kurier.at, Vienna, 13 January 2020, ill.

2011 , '', in: The L Magazine, New York, 15 December 2011, ill.
___, 'Curator's Choice. Jenni Lomax Director of the Camden Arts Centre, London', in: Modern Painters, New York, October 2011, p. 22, ill.
Pollack, Maika, 'Painting as Mirror', in: The New York Observer, New York, 10 October 2011, pp. B6-B7, ill.
Rosenberg, Karen, 'What Hesse, the Painter, Thaught Hesse, the Sculptor', in: New York Times, New York, 7 October 2011, p. C28, ill.
Buhmann, Stephanie, 'Eva Hesse and Sol LeWitt', in: The Brooklyn Rail, New York, 6 May 2011

2010 ___, 'Eva Hesse Spectres 1960', in: THE Magazine, December 2010, p.55, ill.
D.A., in: THE Magazine, Santa Fe, December 2010, ill.
Smith, Roberta, 'Eva Hesse Spectres 1960', on: www.thenewyorktimes.com, New York, 12 November 2010
Donohue, Marlena, 'Eva Hesse', in: INTROspective Magazine, Oakland, October 2010, ill.
___, 'Highways, Inc. Presents Meditations: Eva Hesse, Opens 9 / 24', in: Broadway World Online, Santa Barbara, 17 August 2010, ill.
Camih, Leslie, 'Just Looking/Eva Hesse', in: T Magazine, New York, 25 March 2010
Schwabsky, Barry, 'Eva Hesse', in: Art Forum, New York, April 2010, pp. 205-206
Viveros-Fauné, Christian, 'Meanwhile, Uptown...', in: Village Voice, New York, March 2010, p. 37
__, 'The House of Hesse', in: Interior Design, New York, February 2010, p. 28
Evans, Oliver, 'Art Previews. Eva Hesse', in: Dazed and Confused, London, January 2010
___, 'Fivebest Exhibitions', in: The Independent, London, 6 January 2010, ill.
Cotter, Holland, 'Eva Hesse', in New York Times, New York, 16 April 2010

2000 Chave, Anna C., 'Minimalism and Biography' in: The Art Bulletin, New York, vol. LXXXII, no. 1, March 2000, unpag.

1986 Zimmer, William, 'At The Neuberger, Windows Allow Artists To Share A Theme', in: The New York Times, New York, 12 October 1986

1983 Johnson, Ellen H., 'Order and Chaos: From the Diaries of Eva Hesse', in: Art in America, New York, Summer 1983, pp. 110-118
Klein, Michael R., in: ARTnews, New York, vol. 82, no. 4, April 1983, pp. 151-152
Eisenman, Stephen F., 'Eva Hesse', in: Arts Magazine, New York, March 1983
Combs, Tram, 'Eva Hesse drawings', in: Woodstock Times, New York, 24 February 1983, p. 20, ill.
Russi Kirshner, Judigh, 'Eva Hesse: A Retrospective of the Drawings', in: Artforum, New York, vol. 21, no. 6, February 1983, p. 84
Larson, Kay, 'The James Dean of Art', in: New York Magazine, New York, 31 January 1983, p. 50
Glueck, Grace, 'How An American Sculptor Found Her True Metier', in: New York Times, New York, 23 January 1983, ill.

1981 Weyergraf, Clara, 'The Holy Alliance: Populism and Feminism', in: October, no. 16, Spring 1981, pp. 23-24

1980 MacGregor, N., 'Some Recent Sculpture Acquisitions by British Public Collections', in: The Burlington Magazine, London, no. 122, January 1980, p. 84

1978 Smith, Roberta, in: Art in America, New York, vol. 66, no. 1, January-February 1978, pp. 19-21

1977 Russell, John, 'It Could Have Been A Disaster But... ', in: The New York Times, New York, 2 November 1977
___, 'Book Review. Eva Hesse by Lucy R. Lippard', in: The Print Collector's Newsletter, New York, vol. VII, no. 4, September-October 1977
Spector, Naomi, in: Print Collector's Newsletter, New York, vol. 8, no. 4, September-October 1977, pp. 117-118
Perrone, Jeff, in: Artforum, New York, vol. 16, no. 1, September 1977, pp. 54-55
Kramer, Hilton, in: The New York Times, New York, 20 March 1977, p. 27

1976 Lorber, Richard, 'Eva Hesse', in: Arts Magazine, New York, vol. 51, no. 4, December 1976, p. 7

1975 Raleigh, Henry P., 'The Aesthetic of Change', in: Journal of Aesthetics and Art Criticism, vol. 34, no. 2, Winter 1975, pp. 177-182

1970 H., G., 'Tony Delpa, Frank Gallo, Eva Hesse', in: ARTnews, New York, no. 69, September 1970, p. 14
N., C., 'Frank Gallo, Tony Delap, Eva Hesse at Owens Corning', in: Arts Magazine, New York, no. 44, Summer 1970, p. 57
Rosenstein, Harris, 'Reviews and Previews', in: ARTnews, New York, vol. 69, no. 4, Summer 1970, p. 62
Mellow, James R., 'Three Sculptors in Plastic Mode', in: The New York Times, New York, 5 July 1970, p. B17 (Section 2)
___, 'Eva Hesse Dies: Sculptor was 34', in: The New York Times, New York, 30 May 1970, p. 23
Nemser, Cindy, 'An Interview with Eva Hesse', in: Artforum, New York, vol. 8, no. 9, May 1970, pp. 59-63
Kramer Hilton, in: The New York Times, New York, 18 April 1970
Ashton, Dore, 'Exhibition at Finch College', in: Studio International, New York, vol. 179, March 1970, p. 119
___, 'Fling, Dribble, and Dip' [includes statement by the artist], in: Life, New York, vol. 68, no. 7, 27 February 1970, p. 66
Leider, Philip, 'Art in Process IV', in: Artforum, New York, vol. 8, no. 6, February 1970, p. 70
Rosenberg, Harold, 'The Art World: Deaestheticization', in: The New Yorker, New York, 24 January 1970, pp. 62-67
Pincus-Whitten, Robert, in: Artforum, New York, vol. 8, no. 5, January 1970, p. 69

1963 Peterson, Valerie, 'Exhibition at Stone Gallery', in: ARTnews, New York, vol. 62, no. 3, May 1963, p. 19

1961 Judd, Donald, 'Exhibition at Heller Gallery', in: Arts Magazine, New York, vol. 35, no. 7, April 1961, p. 60
O'Doherty, Brian, 'Art: Paintings by Five Technicans on Display', in: The New York Times, New York, 18 April 1961, p. 34
Roskill, Mark, 'Drawings by Three Young Americans at Heller', in: ARTnews, New York, vol. 60, no. 2, 1961, p. 64

1954 ___, 'It's All Yours' [includes statement by the artist], in: Seventeen, September 1954, pp. 140- 141, 161

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2019 Rosen, Barry (ed.), 'Eva Hesse. Oberlin Drawings. Drawings in the Collection of the Allen Memorial Art Museum, Oberlin College', Zurich: Hauser & Wirth Publishers, 2019, ill. 2018 Schwartz, Dieter, 'Eva Hesse. Arrows and Boxes, Repeated', New York: Craig F. Starr Gallery, 2018, ill. (exh. cat.) 2016 Rosen, Barry, Bloomberg Tamara (eds.), 'Eva Hesse.

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Futurism definition: what is Futurism?

Futurism was an Italian art movement of the early 20th century, which aimed to capture the dynamism and energy of the modern world in art. Futurists were well versed in the latest developments in science and philosophy and particularly fascinated with aviation and cinematography. Futurist artists denounced the past, as they felt the weight of past cultures was extremely oppressive - particularly in Italy - and instead proposed an art celebrating modernity and its industry and technology.

Learn more with our video below and read on to dive into the origins of Futurism and the most famous futurist artists and works.

Key period: 1908 - 1944
Key regions: Italy
Key words: movement, dynamism, modernity, industry, technology, speed
Key artists: Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini, Luigi Russolo, Benedetta Cappa, Antonio Sant'Elia

Origins of Futurism

In 1908, the Italian poet Filippo Tommaso Marinetti swerved to miss a cyclist and crashed his car in a ditch. The experience of the old bicycle versus the modern car inspired him to write his manifesto of Futurism, a movement that would conquer nostalgia and tradition. By 1910, the young artists Umberto Boccioni, Carlo Carrà and Luigi Russolo had joined Marinetti's movement. They suggested Futurism could reach beyond just literature and poetry, and the three artists wrote the Manifesto of Futurist Painters. They sent this to their colleagues Gino Severini and Giacomo Balla, who signed the manifesto. Together, these artists formed the core group of Futurist artists.

Key ideas behind Futurism

The Futurists sought to sweep away what they believed were outdated, traditional notions about art. Instead, they wanted to replace these with an energetic celebration of the machine age. The key focus was to represent a dynamic vision of the future. As such, they often portrayed urban landscapes and new technologies including trains, cars and aeroplanes. They glorified speed, violence and the working classes, believing they would advance change.

In order to achieve movement and dynamism in their art, the Futurists developed techniques in order to express speed and motion. These techniques included blurring and repetition. They also made use of lines of force - a method which they had adopted from the Cubists. The Futurists worked across a wide range of art forms including painting, architecture, sculpture, literature, theatre and music.

Famous Futurist artists

Major players associated with Futurism in visual arts were Umberto Boccioni, Giacomo Balla, Carlo Carrà, and Gino Severini.

Famous Futurist Artworks

Umberto Boccioni, Unique Forms of Continuity in Space (1913)

Arguably the most iconic Futurist artwork ever made, Umberto Boccioni's Unique Forms of Continuity in Space is a "Cubo-Futurist" figure striding in forward motion. The figure's powerful legs seem to be marching ahead, carved by forces such as wind and speed. This modern-man machine can be read as an allegory for Italy's quest to define itself as a modern nation.

Giacomo Balla, Dynamism of a Dog on a Leash (1912)

Dynamism of a Dog on a Leash is Balla's best-known work, and shows a dachshund on a leash and the feet of the lady walking it in rapid motion. Balla achieved this motion by blurring and multiplication of their legs and feet.

Carlo Carrà, The Funeral of the Anarchist Galli (1910-11)

The Funeral of the Anarchist Galli is one of Carrà's most famous works. Angelo Galli was an anarchist and labour organiser in Milan who was killed by the police during a strike in 1904. Since they feared that Galli's funeral would turn into a political demonstration, the state sent police to obstruct anarchists from entering the cemetery. When they resisted, police responded with force and a fight broke out. Carrà witnessed the event and captured the intensity and chaos of the scene, as well as the rapid movement, in this painting.

Gino Severini, Dancer at Pigalle (1912)

Gino Severini's dancer is depicted in the centre of the painting and is composed of dynamic intersecting lines and swirling fabric. Concentric circles lead outwards to the edges of the painting, and each circular layer contains fragmentary images of musicians, instruments and audience members. This is meant to capture the essence and dynamism of the performance.

Futurist architecture

Italian architect Antonio Sant'Elia embraced the twin ideals of mechanisation and motion, proposing a vision of a modern city in the form of a gigantic machine; he named it Città Nuova ("New City"), a name quite contextually appropriate. This utopian futurist city, designed between 1912 and 1914, was a vast, multi-level, interconnected urban conurbation where massive skyscrapers were integrated by elevators, bridges, and elevated walkways in a constantly evolving artificial landscape.
Paradoxically, Sant'Elia, like many other Futurists, saw warfare as the means to destroy the old world and build the much sought after future. However, it was the entropy of war itself that would shatter their illusions, destroying not only the socio-economic conditions necessary to facilitate such grandiose plans but also its main protagonists - Sant'Elia was himself killed in a battle at the age of twenty-eight with almost no completed works of architecture left behind.

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Art Movement: Futurism - Celebration of Movement

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Learn about Futurism, a movement that celebrated movement, technology and aimed to capture the energy of the modern art world.

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Italian artist Gino Severini was a leading figure of the Futurist movement in the years leading up to the First World War. His Futurist paintings built upon the geometry of Cubism, and he used iridescent color to achieve the dynamism, movement and energy that was synonymous with Italian Futurism. His celebration of new technologies echoed the building excitement and optimism of the early decades of the twentieth century in Italy.

Born in Cortona, Italy, in 1883, Severini briefly studied at the Rome Fine Art Institute before moving to Paris in 1906, where he met and worked alongside Amedeo Modigliani, Georges Braques and Raoul Dufy, and partook in the Parisian avant-garde in the formative years of his career. In 1910, Filippo Tommaso Marinetti, the founder of Futurism, invited Severini to sign the first Manifesto of the Futurist Painters alongside Carlo Carrà and his friends Umberto Boccioni and Giacomo Balla. Severini's works synthesized the Futurist obsession with the slate-wiping effects of war with his vibrant, Cubo-Futurist aesthetic, resulting in lively urban scenes. He helped to organize the first Futurist exhibition in Paris in 1912, linking the Futurist artists working in Paris with those in Rome, and helped disseminate the aesthetic of Futurism on an international scale. After the First World War began, his disillusionment and the potential for additional violence led him to distance himself from Futurism; he regretted his early involvement, turned instead to Neoclassicism, and experimented with the flattened forms of Crystal Cubism.

Along with his endeavors in painting, Severini was a prolific and accomplished author, publishing theoretical essays and books on painting throughout his career. He was awarded the Premio Nazionale di Pittura at the San Luca Academy in Rome, where he was given a major solo exhibition. Severini's works can be found at the Museum of Modern Art, New York, the Tate Gallery, London, the Los Angeles County Museum of Art, and other major institutions around the world.

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Italian artist Gino Severini was a leading figure of the Futurist movement in the years leading up to the First World War. His Futurist paintings built upon the geometry of Cubism, and he used iridescent color to achieve the dynamism, movement and energy that was synonymous with Italian Futurism.