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Michael Graves. Public Services Building (The Portland Building), Portland, Oregon. 1980–82

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Michael Graves. Public Services Building (The Portland Building), Portland, Oregon. 1980–82

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Abstract Expressionism (two branches—Action Painting and Color Field Painting):

Influenced by Surrealism

Art about emotion, myth, universal forces

Brought attention to the paint on the canvas (rather than hiding)

Brought NYC to the center of the art world

Post-Painterly Abstraction

“Stain painting”

Post Abstraction

“Combines”

Installation Art

Art as experience

Not collectable

Performance Art

Art as life

Improvisation; unpredictable

Pop Art:

Reaction to elitism of Abstract Expressionism; unemotional
Similar to Dada in love of ready-made, common objects

Sought a mass-produced look—accessible

Interested in mass media and pop culture

Minimalism:

Unemotional

Reduced to most basic parts

“What you see is what you see”—denial of meaning

Earthworks:

The earth is the canvas

Interactive

Out of the gallery—less elitist

Not collectable

Activist Art:

Art as political statement

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Dada: Reaction against World War I; focus on absurdity, element of chance
(Enlightenment values of logic and reason only lead to war); challenged status quo in art, culture, etc.

Surrealism: 1930’s; element of chance (like Dada); randomness related to dream states; juxtaposition of unrelated objects; exploration of the subconscious mind; dream images; stream of consciousness

De Stijl (The Style): Dutch movement; sought to create utopian environment through geometric abstraction; sought universal order that would make nationalism obsolete;
also called International Style and Neo-Plasticism

Regionalism: Representational; local (Midwest) imagery

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Breaking rules

Looking for new inspiration: African Art, Cycladic Art, Folk Art, children’s art, stained glass

Fauvism: removing the naturalistic description function from color

Analytic Cubism: deconstructing space; showing more than one viewpoint at the same time; influence of Cezanne

Synthetic Cubism: building up images; use of collage; “real” vs. illusion

German Expressionism: Die Brücke: dissatisfaction with industrial modern life; looking to German past with woodblock prints

German Expressionism: Der Blaue Reiter: looking for spirituality and “universal truths;”

Abstract art vs. non-objective art, non-narrative art, non-representational art

Italian Futurism: sought to reject the past and bring Italy into the future; interest in new technology, speed, and movement

Russian Suprematism: “supremacy of feeling;” pro-Russian revolution; wanted to create a new vocabulary and language of art removed from the elitist past

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A single style

Easily definable

Less is more

Form follows function

Rejects the past

Form over meaning

Authenticity

Sincere

Exclusive

Art capitals

Assumes an evolution of style

Look for utopian perfection

Look for truth

Emphasis on individuality

Question rules

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Ai Weiwei, Kai Hua zi (sunflower seeds), 2010

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Ai Weiwei, Kai Hua zi (sunflower seeds), 2010

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Nan June Paik. Electronic Superhighway: Continental U.S. 1995

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Nan June Paik. Electronic Superhighway: Continental U.S. 1995

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Bette Saar, The Liberation of Aunt Jemima, 1972

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Bette Saar, The Liberation of Aunt Jemima, 1972

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“Aunt Jemima has been armed and empowered with a new identity. She’s doing making pancakes.”

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Christo and Jeanne-Claude. Running Fence, Sonoma and Marian counties, California. 1972-76

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Christo and Jeanne-Claude. Running Fence, Sonoma and Marian counties, California. 1972-76

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Robert Smithson. Spiral Jetty, Great Salt Lake, Utah. 1970

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Robert Smithson. Spiral Jetty, Great Salt Lake, Utah. 1970

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the study of both the visual elements (formal analysis) and the symbolic or cultural meanings (iconographic analysis) within an artwork

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Hard-edge Ebstraction

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What you see is what you see.

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Andy Warhol. Campbell’s Soup Cans. 1961-64

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Andy Warhol. Campbell’s Soup Cans. 1961-64

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Joseph Beuys, How to explain paintings to a Dead Hare, Nov 26,1965

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Joseph Beuys, How to explain paintings to a Dead Hare, Nov 26,1965

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Louise Nevelson. Sky Cathedral- Moon Garden Plus One. 1957-60

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Louise Nevelson. Sky Cathedral- Moon Garden Plus One. 1957-60

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David Smith. Cubi series as installed at Bolton’s landing, New York.

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David Smith. Cubi series as installed at Bolton’s landing, New York.

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Left 1964

Center 1963

Right 1964

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Helen Frankenthaler. Mountains and Sea. 1952

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Helen Frankenthaler. Mountains and Sea. 1952

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“Post-painterly abstraction”

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Robert Motherwell, Elegy to the Spanish Republic no.24, 1953-54

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Robert Motherwell, Elegy to the Spanish Republic no.24, 1953-54

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Barnett Newman, Vir Heroicus Sublimes, 1950-51

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Barnett Newman, Vir Heroicus Sublimes, 1950-51

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Mark Rothko, no 61 (Rust and Blue), 1953

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Mark Rothko, no 61 (Rust and Blue), 1953

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Jackson Pollock. Autumn Rhythm: Number 30, 1950

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Jackson Pollock. Autumn Rhythm: Number 30, 1950

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Stuart Davis, Hot still-Scape for six colors- 7th Avenue Style. 1940

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Stuart Davis, Hot still-Scape for six colors- 7th Avenue Style. 1940

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Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

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Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

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“In the north the Negro had better educational Facilities” from the migration of the Negro series, 1940-41

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“In the north the Negro had better educational Facilities” from the migration of the Negro series, 1940-41

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Dorothea Lange. Migrant Mother, California. 1936

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Dorothea Lange. Migrant Mother, California. 1936

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Dutch movement

Sought to create utopian environment through geometric abstraction

Sought to universal order that would make nationalism obsolete

Also called International Style and Neo-Plasticism

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Piet Mondrian. Composition (Composition with Red, blue, and yellow). 1930

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Piet Mondrian. Composition (Composition with Red, blue, and yellow). 1930

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Dame Barbara Hepworth, Oval Sculpture, 1943

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Dame Barbara Hepworth, Oval Sculpture, 1943

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Alexander Calder. Lobster Trap and Fish Tail. 1939

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Alexander Calder. Lobster Trap and Fish Tail. 1939

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Merit Oppenheim. Object (lunchroom in Fur) 1936

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Merit Oppenheim. Object (lunchroom in Fur) 1936

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Henri Cartier Bresson. Behind the Gare Saint-Lazard. 1932

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Henri Cartier Bresson. Behind the Gare Saint-Lazard. 1932

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Salvador Dali, The Persistence of Memory. 1931

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Salvador Dali, The Persistence of Memory. 1931

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Rene Magritte, The treachery of images, 1928-19

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Rene Magritte, The treachery of images, 1928-19

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Biomorphic forms

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Hannah Hoch, cut with the Kitchen knife through the Beer-Belly of the Weimar Republic, 1919. Photomontage 

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Hannah Hoch, cut with the Kitchen knife through the Beer-Belly of the Weimar Republic, 1919. Photomontage 

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Raoul Haussmann. Mechanical Head (Spirit of the age). Ca. 1920

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Raoul Haussmann. Mechanical Head (Spirit of the age). Ca. 1920

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Marcel Duchamp, Fountain. 1917. Photograph by Alfred Stieglitz, from the Blind man. May 1917

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Marcel Duchamp, Fountain. 1917. Photograph by Alfred Stieglitz, from the Blind man. May 1917

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Hans ARP, squares Arranged According to the Laws of Chance, 1916-17

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Hans ARP, squares Arranged According to the Laws of Chance, 1916-17

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Reaction against World War I

Focused on absurdity, element of chance

Challenged status quo in art, culture, etc.

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Dada

Surrealism

Organic sculpture

De Stijl

American Regionalism

Harlem Renaissance

Social Realism

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Looking Inward

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Kazimir Malevich, Suprematist Composition: White on white, 1918

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Kazimir Malevich, Suprematist Composition: White on white, 1918

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Kazimir Malevich. Suprematist composition: Airplane flying. 1915

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Kazimir Malevich. Suprematist composition: Airplane flying. 1915

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Kazimir Malevich. Installation photograph of the Artist painting in 0,10 The last futurist exhibition. St. Petersburg, December 1915

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Kazimir Malevich. Installation photograph of the Artist painting in 0,10 The last futurist exhibition. St. Petersburg, December 1915

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Giorgio de Chirico. Mystery and Melancholy of a street. 1914

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Giorgio de Chirico. Mystery and Melancholy of a street. 1914

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Marcel Duchamp, Bicycle wheel. 1913/1915

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Marcel Duchamp, Bicycle wheel. 1913/1915

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Can make art from concept not from the hands

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Marcel Duchamp. Nude Descending a staircase, 1912

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Marcel Duchamp. Nude Descending a staircase, 1912

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Escaping modernity
• What do the Post-Impressionists share in common with the Impressionists? Where do
they vary?

Post-Impressionists moved beyond Impressionism's focus on capturing fleeting moments and naturalistic depiction of light and atmosphere, emphasizing emotional expression, symbolic content, and formal structure
• Symbolism: Emphasized world of dreams, moods, fears, and desires over the everyday,
contemporary world; dissatisfaction with modernity
• Art Nouveau (1890-1900): Mostly architecture and decorative arts; characterized by
abstract organic forms; influenced by William Morris’s Arts and Crafts Movement

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Umberto Boccioni. Unique Forms of Continuity in Space. 1913

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Umberto Boccioni. Unique Forms of Continuity in Space. 1913

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Giacomo Balla, Dynamism of a Dog on a leash, 1912

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Giacomo Balla, Dynamism of a Dog on a leash, 1912