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Week 12 Lecture, 20th Century
- 1. History of 20 th Century Art 1965 - 70
- 2. 1965 - 70 Assassination of Dr. Martin Luther King, Jr., April 4, 1968 “ It is no longer a choice between violence and nonviolence in this world; it's nonviolence or nonexistence.” -MLK Jr., from I’ve Been to the Mountaintop , read on April 3, 1968 John Filo, Kent State University, May 4, 1970 Woodstock festival, August 1969
- 3. Abstract Expressionism vs. Minimalism Vs. Donald Judd, Untitled , 1965 Mark Rothko, No. 3/No.13 (Magenta, Black Green and Orange) , 1949
- 5. Vladimir Tatlin, Monument for the 3rd International , 1919-20 Duchamp, Fountain , 1917, Readymade From the Constructed Object to the Found Object
- 11. Conceptual Art – Duchamp’s Last Word Duchamp, Etant Donnés ( Given: #1 The Waterfall 2. The Illuminating Gas ), 1946-66, Philadelphia Museum of Art
- 13. “ Caught in the Act” Durer, from Four Books on Human Proportions , 1528 Gazing at Manet’s Olympia , Musee d’Orsay
- 14. Minimalism vs. Conceptual Art Judd, Untitled, 1982, Marfa, Texas Vs. Sol Lewitt, Five Modular Units , 1971
- 23. Site-Specific Art – Earthworks Nancy Holt, Sun Tunnels , 1973-76 James Turrell, Roden Crater , ca. 1970-present Arizona Andy Goldsworthy
Notas del editor
- The late 1960s was a turbulent time in the U.S. Martin Luther King Jr. was assassinated, the Vietnam War raged on, “Tricky Dick” (Richard Nixon) was elected in 1968 with a promise to end the war, and organized protests in resistance to war occurred, with at least one ending tragically. In response, movements for peace and love emerged, culminating in Woodstock in 1969. It was also during this period and throughout the 70s that avant-garde art became radicalized. Centuries of preconceptions about the nature of art were challenged. In an effort to deconstruct the history of illusionism, some artists dealt with the most basic geometric and organic forms in large-scale sculptures. Others rejected making objects altogether and either used their bodies as canvas or reached out into the “expanded field,” making art environments indoor and out. If 50s mainstream culture championed the commodified art object (particularly abstract painting) and individual, subjective expression, then much 60s and 70s avant-garde art was not easily bought and sold and was either made collectively or meant to be more communal in nature (about the relationship between the viewer and the art work). While it might not look like typical art for the people (a public mural, for example), 60s art often is. Let’s see why that is.
- Russian Constructivism lasted from around 1913 - 1940. It advocated an art for the people and directed towards social good. In the work of a number of avant-garde artists (such as Tatlin, El Lizzitsky, and Alexander Rodchenko), there is an interest in revealing the material structure of objects and their presence in space by creating constructions that resist illusionism or manipulation. Objects are presented in their most basic forms, often in an orderly fashion (to reflect social harmony and cooperation). Much Constructivist art consists of geometric abstractions and industrial materials, since these artists and their sympathizers believed in the promise of modernity as made possible by the industrial revolution and by populist movements which advocated for the worker and common man.
- If conceptual art is a critique of modernism from within, what characterizes modernism? -visual primacy -physical concreteness, the object -aesthetic autonomy -self-reflexiveness -artisanal competence and manual virtuosity