Este documento explora las conexiones entre la literatura y el movimiento artístico Fluxus de los años 1960. Fluxus combinó diferentes medios como la pintura, la música, la literatura y el teatro en eventos a menudo clasificables. La literatura contemporánea se ha visto influenciada por el abandono de Fluxus de las fronteras artísticas y la importancia del lector. El documento analiza cómo la poesía Fluxus se creaba durante actuaciones y adoptaba características intermedias. También examina a artistas clave de Fluxus
1. The document discusses the history and evolution of photography and time-based media such as film. It outlines key developments including the earliest cameras, the invention of photography, and advances in color photography and digital technologies.
2. Form and content are discussed as central themes in photography. Examples are given of photographers who emphasized formal elements or aestheticized their subjects. The Farm Security Administration project to document the Great Depression is also mentioned.
3. Techniques for manipulating photographs like dodging and burning are explained. The relationship between form and content is further explored through the example of Cartier-Bresson's photo of Athens.
Yayoi Kusama is a famous Japanese artist known for her polka dot motifs. She began incorporating polka dots into her paintings and other artworks at age 10. Despite her parents' disapproval, she was determined to become an artist. Kusama later moved to New York City where she had successful exhibitions and influenced American pop artists like Andy Warhol. Now in her 90s, Kusama continues producing art from her studio in Japan.
Fluxus was an artistic movement founded in the 1960s that emphasized experimental art forms and focused on blurring boundaries between art and life. The name "Fluxus" was coined by founder George Maciunas and derived from a Latin word meaning continuous flowing or passing. Key aspects of Fluxus included using everyday objects in artistic works, emphasizing experience over finished art objects, and blurring distinctions between different artistic media. Some notable Fluxus artists involved in the movement included George Maciunas, George Brecht, Nam June Paik, and Yoko Ono.
This document provides an overview of various painting media used by artists, including encaustic, fresco, tempera, oil painting, watercolor, and gouache. It discusses the characteristics and techniques of each medium, provides examples of famous works to illustrate the properties of the media, and outlines some of the creative processes involved. Key points covered include how encaustic uses pigment and hot wax, fresco applies pigment to wet or dry plaster, tempera combines pigment with egg yolk, and oil painting allows for blending and glazing effects. Watercolor spreads color along paper fibers while gouache produces opaque color. The document examines artistic works to demonstrate the qualities and expressions afforded by different painting media.
Andy Warhol (1928-1987) was an American artist known for his pop art works that used bright colors and repeated images of popular icons and figures from mass media. Some of his most famous works include Eight Elvises, which depicted Elvis Presley in different poses, and his silkscreen paintings of Marilyn Monroe. Warhol used techniques like silkscreening, which involves a woven mesh and ink-blocking stencil, to reproduce images and explore repetition. He was fascinated by pop culture and mass media and often featured icons like Monroe, Mickey Mouse, and dollar signs in his art.
Andy Goldsworthy is a British artist and photographer known for his outdoor sculptures and land art made from natural materials found in nature such as leaves, twigs, stones, snow, and ice. He studied art in college and produces temporary works of art in natural settings that are photographed before disappearing. Some of his most famous works include stone sculptures, leaf mosaics, and ice sculptures made by freezing objects and water in plastic bags.
This document provides a brief overview of several modern art movements from Impressionism to Pop Art. It explains that Impressionism began as a reaction to traditional academic painting and focused on capturing the effects of light. It then discusses Expressionism/Fauvism, noting its use of strong colors to convey emotion over realism. Later movements discussed include Art Nouveau, Cubism, Surrealism, Abstract Art, Op Art, and Pop Art.
1. The document discusses the history and evolution of photography and time-based media such as film. It outlines key developments including the earliest cameras, the invention of photography, and advances in color photography and digital technologies.
2. Form and content are discussed as central themes in photography. Examples are given of photographers who emphasized formal elements or aestheticized their subjects. The Farm Security Administration project to document the Great Depression is also mentioned.
3. Techniques for manipulating photographs like dodging and burning are explained. The relationship between form and content is further explored through the example of Cartier-Bresson's photo of Athens.
Yayoi Kusama is a famous Japanese artist known for her polka dot motifs. She began incorporating polka dots into her paintings and other artworks at age 10. Despite her parents' disapproval, she was determined to become an artist. Kusama later moved to New York City where she had successful exhibitions and influenced American pop artists like Andy Warhol. Now in her 90s, Kusama continues producing art from her studio in Japan.
Fluxus was an artistic movement founded in the 1960s that emphasized experimental art forms and focused on blurring boundaries between art and life. The name "Fluxus" was coined by founder George Maciunas and derived from a Latin word meaning continuous flowing or passing. Key aspects of Fluxus included using everyday objects in artistic works, emphasizing experience over finished art objects, and blurring distinctions between different artistic media. Some notable Fluxus artists involved in the movement included George Maciunas, George Brecht, Nam June Paik, and Yoko Ono.
This document provides an overview of various painting media used by artists, including encaustic, fresco, tempera, oil painting, watercolor, and gouache. It discusses the characteristics and techniques of each medium, provides examples of famous works to illustrate the properties of the media, and outlines some of the creative processes involved. Key points covered include how encaustic uses pigment and hot wax, fresco applies pigment to wet or dry plaster, tempera combines pigment with egg yolk, and oil painting allows for blending and glazing effects. Watercolor spreads color along paper fibers while gouache produces opaque color. The document examines artistic works to demonstrate the qualities and expressions afforded by different painting media.
Andy Warhol (1928-1987) was an American artist known for his pop art works that used bright colors and repeated images of popular icons and figures from mass media. Some of his most famous works include Eight Elvises, which depicted Elvis Presley in different poses, and his silkscreen paintings of Marilyn Monroe. Warhol used techniques like silkscreening, which involves a woven mesh and ink-blocking stencil, to reproduce images and explore repetition. He was fascinated by pop culture and mass media and often featured icons like Monroe, Mickey Mouse, and dollar signs in his art.
Andy Goldsworthy is a British artist and photographer known for his outdoor sculptures and land art made from natural materials found in nature such as leaves, twigs, stones, snow, and ice. He studied art in college and produces temporary works of art in natural settings that are photographed before disappearing. Some of his most famous works include stone sculptures, leaf mosaics, and ice sculptures made by freezing objects and water in plastic bags.
This document provides a brief overview of several modern art movements from Impressionism to Pop Art. It explains that Impressionism began as a reaction to traditional academic painting and focused on capturing the effects of light. It then discusses Expressionism/Fauvism, noting its use of strong colors to convey emotion over realism. Later movements discussed include Art Nouveau, Cubism, Surrealism, Abstract Art, Op Art, and Pop Art.
Abstract expressionism emerged in New York City in the 1940s as a spontaneous style of painting that focused on the emotional experience rather than depicting objects or images. Key figures like Jackson Pollock and Willem de Kooning developed techniques like Pollock's drip method that emphasized fluid paint application. By the 1950s, abstract expressionism had spread to other American cities and to Paris, influencing architecture and other fields by embracing non-representational forms that conveyed personal feelings. It marked a shift away from social realism and toward abstraction, though its roots were varied, involving influences from surrealism and Russian artist Wassily Kandinsky.
Pop Art emerged in the late 1950s and was inspired by popular culture such as magazines, advertisements, and movies. Pop artists used bright colors and imagery from popular culture to create their works. Andy Warhol was a prominent Pop artist who used repetition and silkscreening to make multiple copies of images like Marilyn Monroe and Campbell's Soup cans. Roy Lichtenstein also depicted popular images but in a comic book style using bold outlines and dots of color. Keith Haring and David Hockney were other Pop artists who used symbols and pieced together photos in their distinctive styles.
Jackson Pollock was an influential American painter known for pioneering the abstract expressionist action painting style in which paint was dripped and poured onto canvases placed on the floor. Pollock's early works were influenced by Thomas Hart Benton's regionalist style, but he developed his signature drip technique in the 1940s, creating complex, textured compositions without recognizable subjects. Though controversial among critics at the time, Pollock's works now sell for record-breaking prices and he is considered one of the most important American artists of the 20th century for revolutionizing modern art.
Pierre-Auguste Renoir was a famous French artist born in 1841 who was a leading painter in developing the Impressionist style of painting. He came from a working class family and began working in a factory decorating fine china at age 13. He later studied art in Paris where he met other Impressionist painters. Renoir became known for his bright, colorful paintings often depicting happy scenes of everyday life like families, children at the beach, and dancers, usually in bright sunlight. His works remain very popular today and are displayed in art museums worldwide.
This document discusses Post-Impressionism from 1880-1920. It provides information on prominent Post-Impressionist artists like Van Gogh, Rousseau, and Gauguin, describing some of their most famous works. It characterizes Post-Impressionism as influenced by but extending beyond Impressionism, featuring highly personal styles and more emotional subject matter than Impressionist works. Examples of specific paintings by the artists are also mentioned.
Chapter 22 conceptual and activist artPetrutaLipan
Joseph Kosuth's conceptual artwork One and Three Chairs from 1965 consisted of a real chair with a photo of the chair and the dictionary definition, exemplifying the emerging Conceptual art movement that valued an artwork's concept over physical properties. Lawrence Weiner, Douglas Huebler, and Robert Barry were influential early Conceptual artists who created text-based works or documented everyday activities. Hans Haacke and Michael Asher practiced institutional critique, questioning how art was valued and presented in society. Bruce Nauman worked across mediums like video and neon to blend Conceptualism with performance and language-based works. The feminist art movement, led by Judy Chicago and Miriam Schapiro at CalArts, encouraged female artists to address
Pop Art emerged in the 1950s as a reaction to Abstract Expressionism, using imagery from popular culture and mass media. Major pop artists like Andy Warhol, Roy Lichtenstein, Jasper Johns, and Robert Rauschenberg incorporated symbols, objects, and graphics from advertisements, product packaging, and other commercial art into their brightly colored, photo-realistic paintings and sculptures. Pop Art blurred the lines between high and low art to comment on the growing role of consumerism and mass production in postwar Western culture.
The document discusses how visual artists portray their environments from their own perspectives by deciding what to include or leave out, and how they communicate not just what they see but also what they hear, feel, and smell. It provides examples of natural environment elements like landscapes, foliage, and animals as well as man-made environments like cityscapes, architecture, and vehicles, then lists examples of artists like Ansel Adams, Winslow Homer, and Georgia O'Keeffe who depicted such environments.
Chapter 16 abstract expressionism and the new american sculpturePetrutaLipan
This document provides an overview of Abstract Expressionism and its emergence as the first American art movement to achieve worldwide influence in the mid-20th century. It discusses major Abstract Expressionist artists like Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman who developed new approaches to non-representational painting in New York during the 1940s-1950s. It also covers the movement's expansion to include constructed sculpture and biomorphic forms through the works of artists such as David Smith, Louise Bourgeois, and Joseph Cornell.
The document provides an overview of Impressionist art and some of the key Impressionist artists. It discusses how Impressionism opposed rigid academic traditions and emphasized capturing light and color outdoors. Artists like Monet, Renoir, Manet, Cassatt, and Degas are described as focusing on landscapes, scenes of daily life, and light effects over detailed compositions. Their works helped establish Impressionism as a new style that broke from conventions.
The document discusses various principles of art including pattern, variety, unity, balance, emphasis, proportion, movement, rhythm, and unity. It provides definitions and examples for each principle. Pattern is the repetition of elements, variety makes parts look different, and unity creates a cohesive whole. Balance can be formal, informal, or radial. Emphasis draws the eye to specific areas. Proportion relates object sizes. Movement suggests motion. Rhythm involves recurring elements. Examples are given for each principle from various artists' works.
Impressionism & Post-Impressionism Art HistoryS Sandoval
AP ART HISTORY Crash Course - Impressionism and Post-Impressionism
Impressionism artists: United by their depiction of modern life, and rejection of established European Styles, embracing new experimental ideas "Avant-Garde".
The use of synthetic pigments and ready made paint in solid tubes. Impressionist artists were interested in "plein air" landscape painting.
Surrealism was an artistic movement that began in the 1920s led by poet Andre Breton. It aimed to express ideas from the unconscious mind through automatic techniques and dreamlike imagery. Two main trends emerged - the Automatists focused on feeling over analysis using techniques like automatic drawing, while the Veristic Surrealists aimed to represent unconscious images faithfully through metaphor and symbolism. Major surrealist artists included Max Ernst, Joan Miro, Salvador Dali, and Rene Magritte who used techniques like collage, frottage, and ambiguous, dreamlike imagery to depict surreal visions and critique bourgeois culture. The movement struggled for recognition but expanded internationally with artists experimenting with surreal techniques
Mark Rothko was a Russian-born American painter and a founding member of the abstract expressionist movement. He is known for his large-scale paintings consisting of colored rectangles or squares arranged in horizontal tiers on a solid colored background. In the 1940s, Rothko began experimenting with mythological themes and different techniques that led to his signature format of floating color fields. By the 1950s, his paintings typically featured only a few large rectangles of color to achieve a meditative, transcendent experience for the viewer. Rothko sought to express emotional and spiritual themes through his abstract works and did not want to explain his paintings, believing interpretations should come from the viewer's own experience.
Realism was an art movement that aimed to depict realistic representations of common people and scenes in a plain, straightforward manner, in contrast to the exaggerated emotions of Romanticism. It began in France in the 1850s and focused on everyday subjects painted in a detailed, factual style. Jean-Francois Millet was a famous realist painter known for his scenes of peasants working in the fields, rendered with careful attention to textures, shading, and facial expressions to achieve realistic effects.
Impressionism was an art movement that began in the 1860s with loose associations of Paris-based artists who exhibited their paintings publicly. The movement took its name from a Claude Monet painting titled Impression, Sunrise. Impressionist artists felt photography was damaging painting, so they created a new style focusing on the visual sensation rather than accurate rendering. Their paintings used visible brushstrokes, light colors, and emphasized light and its changing qualities. Though initially disliked, Impressionism grew in popularity and influenced later art movements.
Fluxus was an international artistic movement founded in the 1960s that emphasized experimental multi-disciplinary works, viewer participation, and a blurring of the boundaries between art and life. The movement was launched by Lithuanian artist George Maciunas and involved artists such as George Brecht, Yoko Ono, and Nam June Paik. Fluxus rejected the conventional art market system and sought to make art more accessible to all people through low-cost art games and kits that could be mass produced and mailed. They emphasized the concept of "art for all" and believed that everyday actions could be considered art.
Dadaism was an early 20th century avant-garde art movement that was founded in Zurich in 1916 in reaction to World War I. It rejected reason and logic and emphasized chaos and irrationality through anti-art styles and shock value. Some of the most famous Dadaists included Marcel Duchamp, whose "Fountain" was a urinal signed and submitted as a sculpture, Max Ernst, known for his surreal collage paintings, and Francis Picabia, who formed a Dada group in Barcelona and created the painting "Amorous Parade."
Este documento discute el arte contextual y la performance. Explica que aunque la performance parece conectarse directamente con el público, en realidad los medios artísticos como la performance no son formas expresivas en sí mismas, sino vehículos para diferentes corrientes artísticas. También explora las diferencias entre el arte conceptual y el arte contextual, y cómo este último se enraíza más en la vida real y el contexto político-social. Finalmente, resume las ideas del artista Jan Swidzinski sobre el arte contextual y cómo la performance es una forma esencial de expresión que intent
Este documento resume el surgimiento del arte conceptual entre las décadas de 1960 y 1970. Enfatiza que en este movimiento prima la idea sobre el objeto físico. Artistas como Sol LeWitt, Joseph Kosuth y Lawrence Weiner crearon obras donde el concepto era lo más importante. Otros como On Kawara y Marcel Broodthaers exploraron el lenguaje y sus posibilidades conceptuales. El movimiento Fluxus, liderado por George Maciunas, promovió un arte de procesos abiertos que usaba el lenguaje y los eventos. Nam June Paik fue pionero del
Abstract expressionism emerged in New York City in the 1940s as a spontaneous style of painting that focused on the emotional experience rather than depicting objects or images. Key figures like Jackson Pollock and Willem de Kooning developed techniques like Pollock's drip method that emphasized fluid paint application. By the 1950s, abstract expressionism had spread to other American cities and to Paris, influencing architecture and other fields by embracing non-representational forms that conveyed personal feelings. It marked a shift away from social realism and toward abstraction, though its roots were varied, involving influences from surrealism and Russian artist Wassily Kandinsky.
Pop Art emerged in the late 1950s and was inspired by popular culture such as magazines, advertisements, and movies. Pop artists used bright colors and imagery from popular culture to create their works. Andy Warhol was a prominent Pop artist who used repetition and silkscreening to make multiple copies of images like Marilyn Monroe and Campbell's Soup cans. Roy Lichtenstein also depicted popular images but in a comic book style using bold outlines and dots of color. Keith Haring and David Hockney were other Pop artists who used symbols and pieced together photos in their distinctive styles.
Jackson Pollock was an influential American painter known for pioneering the abstract expressionist action painting style in which paint was dripped and poured onto canvases placed on the floor. Pollock's early works were influenced by Thomas Hart Benton's regionalist style, but he developed his signature drip technique in the 1940s, creating complex, textured compositions without recognizable subjects. Though controversial among critics at the time, Pollock's works now sell for record-breaking prices and he is considered one of the most important American artists of the 20th century for revolutionizing modern art.
Pierre-Auguste Renoir was a famous French artist born in 1841 who was a leading painter in developing the Impressionist style of painting. He came from a working class family and began working in a factory decorating fine china at age 13. He later studied art in Paris where he met other Impressionist painters. Renoir became known for his bright, colorful paintings often depicting happy scenes of everyday life like families, children at the beach, and dancers, usually in bright sunlight. His works remain very popular today and are displayed in art museums worldwide.
This document discusses Post-Impressionism from 1880-1920. It provides information on prominent Post-Impressionist artists like Van Gogh, Rousseau, and Gauguin, describing some of their most famous works. It characterizes Post-Impressionism as influenced by but extending beyond Impressionism, featuring highly personal styles and more emotional subject matter than Impressionist works. Examples of specific paintings by the artists are also mentioned.
Chapter 22 conceptual and activist artPetrutaLipan
Joseph Kosuth's conceptual artwork One and Three Chairs from 1965 consisted of a real chair with a photo of the chair and the dictionary definition, exemplifying the emerging Conceptual art movement that valued an artwork's concept over physical properties. Lawrence Weiner, Douglas Huebler, and Robert Barry were influential early Conceptual artists who created text-based works or documented everyday activities. Hans Haacke and Michael Asher practiced institutional critique, questioning how art was valued and presented in society. Bruce Nauman worked across mediums like video and neon to blend Conceptualism with performance and language-based works. The feminist art movement, led by Judy Chicago and Miriam Schapiro at CalArts, encouraged female artists to address
Pop Art emerged in the 1950s as a reaction to Abstract Expressionism, using imagery from popular culture and mass media. Major pop artists like Andy Warhol, Roy Lichtenstein, Jasper Johns, and Robert Rauschenberg incorporated symbols, objects, and graphics from advertisements, product packaging, and other commercial art into their brightly colored, photo-realistic paintings and sculptures. Pop Art blurred the lines between high and low art to comment on the growing role of consumerism and mass production in postwar Western culture.
The document discusses how visual artists portray their environments from their own perspectives by deciding what to include or leave out, and how they communicate not just what they see but also what they hear, feel, and smell. It provides examples of natural environment elements like landscapes, foliage, and animals as well as man-made environments like cityscapes, architecture, and vehicles, then lists examples of artists like Ansel Adams, Winslow Homer, and Georgia O'Keeffe who depicted such environments.
Chapter 16 abstract expressionism and the new american sculpturePetrutaLipan
This document provides an overview of Abstract Expressionism and its emergence as the first American art movement to achieve worldwide influence in the mid-20th century. It discusses major Abstract Expressionist artists like Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman who developed new approaches to non-representational painting in New York during the 1940s-1950s. It also covers the movement's expansion to include constructed sculpture and biomorphic forms through the works of artists such as David Smith, Louise Bourgeois, and Joseph Cornell.
The document provides an overview of Impressionist art and some of the key Impressionist artists. It discusses how Impressionism opposed rigid academic traditions and emphasized capturing light and color outdoors. Artists like Monet, Renoir, Manet, Cassatt, and Degas are described as focusing on landscapes, scenes of daily life, and light effects over detailed compositions. Their works helped establish Impressionism as a new style that broke from conventions.
The document discusses various principles of art including pattern, variety, unity, balance, emphasis, proportion, movement, rhythm, and unity. It provides definitions and examples for each principle. Pattern is the repetition of elements, variety makes parts look different, and unity creates a cohesive whole. Balance can be formal, informal, or radial. Emphasis draws the eye to specific areas. Proportion relates object sizes. Movement suggests motion. Rhythm involves recurring elements. Examples are given for each principle from various artists' works.
Impressionism & Post-Impressionism Art HistoryS Sandoval
AP ART HISTORY Crash Course - Impressionism and Post-Impressionism
Impressionism artists: United by their depiction of modern life, and rejection of established European Styles, embracing new experimental ideas "Avant-Garde".
The use of synthetic pigments and ready made paint in solid tubes. Impressionist artists were interested in "plein air" landscape painting.
Surrealism was an artistic movement that began in the 1920s led by poet Andre Breton. It aimed to express ideas from the unconscious mind through automatic techniques and dreamlike imagery. Two main trends emerged - the Automatists focused on feeling over analysis using techniques like automatic drawing, while the Veristic Surrealists aimed to represent unconscious images faithfully through metaphor and symbolism. Major surrealist artists included Max Ernst, Joan Miro, Salvador Dali, and Rene Magritte who used techniques like collage, frottage, and ambiguous, dreamlike imagery to depict surreal visions and critique bourgeois culture. The movement struggled for recognition but expanded internationally with artists experimenting with surreal techniques
Mark Rothko was a Russian-born American painter and a founding member of the abstract expressionist movement. He is known for his large-scale paintings consisting of colored rectangles or squares arranged in horizontal tiers on a solid colored background. In the 1940s, Rothko began experimenting with mythological themes and different techniques that led to his signature format of floating color fields. By the 1950s, his paintings typically featured only a few large rectangles of color to achieve a meditative, transcendent experience for the viewer. Rothko sought to express emotional and spiritual themes through his abstract works and did not want to explain his paintings, believing interpretations should come from the viewer's own experience.
Realism was an art movement that aimed to depict realistic representations of common people and scenes in a plain, straightforward manner, in contrast to the exaggerated emotions of Romanticism. It began in France in the 1850s and focused on everyday subjects painted in a detailed, factual style. Jean-Francois Millet was a famous realist painter known for his scenes of peasants working in the fields, rendered with careful attention to textures, shading, and facial expressions to achieve realistic effects.
Impressionism was an art movement that began in the 1860s with loose associations of Paris-based artists who exhibited their paintings publicly. The movement took its name from a Claude Monet painting titled Impression, Sunrise. Impressionist artists felt photography was damaging painting, so they created a new style focusing on the visual sensation rather than accurate rendering. Their paintings used visible brushstrokes, light colors, and emphasized light and its changing qualities. Though initially disliked, Impressionism grew in popularity and influenced later art movements.
Fluxus was an international artistic movement founded in the 1960s that emphasized experimental multi-disciplinary works, viewer participation, and a blurring of the boundaries between art and life. The movement was launched by Lithuanian artist George Maciunas and involved artists such as George Brecht, Yoko Ono, and Nam June Paik. Fluxus rejected the conventional art market system and sought to make art more accessible to all people through low-cost art games and kits that could be mass produced and mailed. They emphasized the concept of "art for all" and believed that everyday actions could be considered art.
Dadaism was an early 20th century avant-garde art movement that was founded in Zurich in 1916 in reaction to World War I. It rejected reason and logic and emphasized chaos and irrationality through anti-art styles and shock value. Some of the most famous Dadaists included Marcel Duchamp, whose "Fountain" was a urinal signed and submitted as a sculpture, Max Ernst, known for his surreal collage paintings, and Francis Picabia, who formed a Dada group in Barcelona and created the painting "Amorous Parade."
Este documento discute el arte contextual y la performance. Explica que aunque la performance parece conectarse directamente con el público, en realidad los medios artísticos como la performance no son formas expresivas en sí mismas, sino vehículos para diferentes corrientes artísticas. También explora las diferencias entre el arte conceptual y el arte contextual, y cómo este último se enraíza más en la vida real y el contexto político-social. Finalmente, resume las ideas del artista Jan Swidzinski sobre el arte contextual y cómo la performance es una forma esencial de expresión que intent
Este documento resume el surgimiento del arte conceptual entre las décadas de 1960 y 1970. Enfatiza que en este movimiento prima la idea sobre el objeto físico. Artistas como Sol LeWitt, Joseph Kosuth y Lawrence Weiner crearon obras donde el concepto era lo más importante. Otros como On Kawara y Marcel Broodthaers exploraron el lenguaje y sus posibilidades conceptuales. El movimiento Fluxus, liderado por George Maciunas, promovió un arte de procesos abiertos que usaba el lenguaje y los eventos. Nam June Paik fue pionero del
El documento resume las características del movimiento posmoderno y su expresión en el arte. Se define el posmodernismo como una actitud filosófica y un movimiento artístico que surgió en la segunda mitad del siglo XX en oposición a la modernidad. El arte posmoderno se caracteriza por la hibridación de estilos, la valoración de la cultura popular y la desconfianza en los grandes relatos.
Este documento resume diferentes movimientos artísticos de acción que surgieron en la década de 1960, incluidos los Happenings, Fluxus y el Accionismo Vienés. Los Happenings involucraban acciones en el espacio con objetos de la vida real para ampliar lo estético. Fluxus era un movimiento internacional contra el convencionalismo que buscaba liberar ideas de forma fluida. El Accionismo Vienés a menudo involucraba acciones polémicas e incluso sacrificios de animales. Todos estos movimientos buscaban des
Este documento describe el desarrollo del arte contemporáneo desde 1945 hasta la década de 1960. No hubo una ruptura total con las vanguardias históricas, sino que surgió una línea divisoria entre ellas y las nuevas tendencias posvanguardistas. El expresionismo abstracto dominó inicialmente, pero luego surgió el Pop Art en respuesta a su academicismo, usando imágenes de la cultura de masas. El galerista Leo Castelli y la ciudad de Nueva York fueron fundamentales para el auge de este nuevo movimiento en los Estados Unidos.
Repaso de los conceptos que llevaron a la deriva propuesta por Guy Debord y los situacionistas, pasando por la conceptualización artística-urbanística del grupo Co.Br.A, Constant Nieuwenhuys, Richard Long, Tony Smith, hasta el callejeo y la des-organización en el trabajo de campo urbano.
Este documento describe la evolución del arte desde 1945 hasta la década de 1960, cuando surgió el Pop Art. Se marca 1945 como una línea divisoria entre las vanguardias históricas y las nuevas tendencias posteriores. En los años 1960 hubo grandes cambios con el surgimiento del Pop Art en Estados Unidos y Reino Unido, que utilizaba imágenes de la cultura popular. El documento también analiza las características y orígenes de este movimiento artístico.
El documento resume un libro escrito por Graciela Gutiérrez Marx llamado "Artecorreo. Artistas invisibles en la red postal 1975-1995" que explora el movimiento del arte postal o "mail art". El mail art promovió la descentralización del arte al oponerse al mercado del arte y centros de poder. Los artistas involucrados en el mail art se consideraban invisibles para la historia del arte convencional pero visibles dentro de su red postal. El documento también discute algunos de los principios y prácticas clave del mail art.
Este documento resume diferentes movimientos artísticos de acción que surgieron en la década de 1960, incluidos los Happenings, Fluxus y el Accionismo Vienés. Los Happenings combinaban elementos de diferentes artes para crear eventos espontáneos que desdibujaban la línea entre arte y vida. Fluxus era un movimiento internacional que promovía el arte experimental y anticonvencional. El Accionismo Vienés involucraba acciones provocativas y a veces violentas. También se mencionan artistas individuales como Yves Klein, Jim
Este documento resume diferentes movimientos artísticos de acción que surgieron en la segunda mitad del siglo XX, como los happenings, Fluxus y el accionismo vienés. Describe las características y obras clave de estos movimientos, que buscaban ampliar lo estético a elementos de la vida cotidiana y fusionar el arte con la vida a través de acciones. También menciona artistas individuales importantes como Yves Klein, Yoko Ono, Rebecca Horn, Lygia Clark y Ernesto Neto.
Posmodernidad Fria en Europa y Estados UnidosCristian
Este documento resume el surgimiento del simulacionismo y posapropiacionismo en Estados Unidos entre 1985-1990. Se describe como los artistas se vieron influenciados por el pensamiento posmoderno francés, especialmente de Roland Barthes y Jean Baudrillard, adoptando conceptos como simulación e hiperrealidad. Las galerías como Ileana Sonnabend promovieron este nuevo arte, aunque también fue criticado. Los museos como el Institute of Contemporary Art de Boston también exhibieron estas obras. Finalmente, el documento explica cómo este movimiento se difundió a Europa.
El documento describe el movimiento artístico del expresionismo que surgió en Alemania a principios del siglo XX. Se manifiesta en varias áreas como las artes plásticas, la literatura y la música. Reacciona contra el impresionismo enfatizando la visión subjetiva del artista sobre la realidad. Algunas características clave son el uso de la deformación y caricatura para expresar emociones como la angustia. Obras notables incluyen la escultura "El espíritu guerrero" y la pintura "Caliban"
Este documento presenta un proyecto de aula sobre los movimientos de vanguardia para estudiantes de quinto curso. El proyecto busca que los estudiantes conozcan los principales movimientos como el cubismo, el expresionismo, el futurismo, el dadaísmo y el surrealismo a través de imágenes. Incluye objetivos, herramientas, valores, actividades como foros, dramatizaciones y visitas a museos, y una evaluación final con pruebas y exposiciones.
Este documento presenta un proyecto de aula sobre los movimientos de vanguardia para estudiantes de quinto curso. El proyecto busca que los estudiantes conozcan los principales movimientos como el cubismo, el expresionismo, el futurismo, el dadaísmo y el surrealismo a través de imágenes. Incluye objetivos, herramientas, valores, actividades como foros, dramatizaciones y visitas a museos, y una evaluación final con pruebas escritas y exposiciones.
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1. LITERATURA Y FLUXUS
Alum. Lucía Ferreiro Soto
Asign. Introducción a la Literatura Comparada
Prof. Teresa Vilariño Picos
Facultad de Filología
Universidad de Santiago de Compostela
2.
3. INTRODUCCIÓN.
El arte contemporáneo actual es fruto en gran medida de la herencia de propuestas
artísticas no literarias como el Pop-Art, Fluxus, el Arte Conceptual, los Happenings, el
Arte Povera, los performances, los Minimalismos, la arquitectura postmoderna, el arte
accional, las instalaciones o la electrónica, entre otras muchas. La literatura
contemporánea del último cuarto de siglo (la literatura visual, la letrista o aletrista, la de
tribus urbanas post rockeras o post sexuales, la del Rap y el Hip Hop, la poesía accional
o la virtual, el Ciberpunk, la Novela Gráfica, la Hiperficción, la Narrativa Hipertextual,
la Ciberpoesía, múltiples poéticas digitales o de Internet, etc.), se apropia de los
lenguajes no-representativos ni expresivos, abandonando por un lado la importancia de
la gran obra literaria y por otra del artista-genio y generando un nuevo valor en el lector,
co-participe o co-protagonista de la obra de arte.
Bajo mi punto de vista, Fluxus, como grupo-tendencia radical de las vanguardias
de los años 60 es una de las mayores influencias en arte, principalmente por poner en
tela de juicio tanto los mismos valores del arte como de la sociedad y de nuestros
propios hábitos cotidianos.
Teniendo como referencia la literatura comparada, se puede establecer un vínculo
entre la evolución de ésta con las vanguardias. La literatura comparada experimenta un
auge en el modernismo, momento en el que empiezan a generarse las primeras
manifestaciones de lo que se ha llamado arte intermedia. En el posmodernismo se puede
ilustrar cómo este comparatismo tanto intercultural como entre géneros artísticos se une
en el “evento fluxus” o en los happenings que tienen lugar en el seno de este grupo
heterogéneo. Por lo tanto, en mi opinión, un proyecto comparativo de literatura y Fluxus
es de gran interés; por significar la obra de estos artistas la suma de varias experiencias:
pintura, música, literatura, escultura y teatro en un único evento, a veces inclasificable.
Finalmente, quisiera destacar la especial problemática que he encontrado a la hora
de realizar este proyecto. Por un lado la dificultad de comparar la literatura con unas
4. obras artísticas que abarcan varios géneros e incluyen a menudo la misma literatura. Por
otro la poca bibliografía encontrada aunque cada vez parece que se está volviendo el
interés hacia el estudio de las vanguardias postmodernas, tanto en España (es todavía
reciente la exposición en el Museo Reina Sofía de Madrid sobre los Encuentros de
Pamplona de 1972) como en el plano internacional.
CONTEXTO
Contexto cultural social y político de los años 50 y 60. La politización y
acomodamiento de la vida diaria. El aumento de una sociedad de ocio mediatizada por
las masas. La asunción de movimientos sociales basados en una reformulación de las
identidades sociales, rapidez de experimentos científicos, desarrollo de nuevas
tecnologías de comunicación…
Cambios políticos y sociales.
Los poderes fácticos. El control de la personalidad que los regímenes políticos y las
ideologías tratan de ejercer sobre el hombre.
Información controlada. Inflación de la información y censura.
La contracultura. El movimiento Underground.
Arte y artistas contra el sistema. La indiferencia y pasividad del hombre ante los objetos
y ante los problemas de la realidad que le envuelven.
El progreso de la técnica y el confort material como límites del razonamiento del
hombre. Mitificación actual de la tecnología y la “antiutilización” de los inventos.
Contra el Mercado del Arte.
5. ARTE INTERMEDIA.
Enlaces y puntos de unión entre una práctica específica determinada, como por ejemplo
la pintura, y otros ejercicios artísticos ya desarrollados en la vanguardia histórica,
capaces de ampliar y extender el concepto y la práctica de lo específico a otras áreas o
espacios de conexión e interferencia.
El humanismo como raíz de las prácticas intermedia en contraste con lo multimedia.
-Los precedentes:
Interdisciplinariedad futurista.
Dadaísmo.
Teatro interdisciplinario.
Constructivismo.
Letrismo.
Música concreta.
Poesía concreta.
-El Happening.
El collage como punto de partida.
Decollage.
Valores interdisciplinares en el happening.
FLUXUS.
Nombre tomado del latín: fluir.
Movimiento que florece en los años 60 y se extiende todavía hasta hoy. Fue el
comienzo de varias innovaciones en el terreno de la performance, el cine y el video,
entre otros. Su principal característica es la combinación de diferentes medios.
La idea Fluxus es anterior a Fluxus como grupo específico de personas.
Tras los experimentos multimedia del compositor John Cage con sus colaboradores del
6. Black Mountain College: Robert Rauschenberg, Mercé Cunningham y David Tudor, un
grupo de individuos, sobretodo salidos de las aulas del propio Cage, se van a reunir de
forma habitual, para publicar e interpretar sus obras. Les une la sensación de que las
fronteras del arte son mucho más amplias de lo que convencionalmente se cree, o que el
"arte" y ciertas demarcaciones arraigadas desde tiempo inmemorial no son ya
demasiado útiles. Espíritu “antiarte”.
Según Maciunas, los eventos Fluxus "destacan las cualidades mono estructurales y
ateatrales de un simple evento natural, un juego o un gag. Son una fusión de Spike
Jones, vaudeville, gags, juegos infantiles y Duchamp".
Las presentaciones Fluxus se caracterizan especialmente por una combinación de
acciones que ocurren como un ritual simple o en un contexto ritualizado. Usualmente
hay una audiencia y luego por lo general no queda mucho del trabajo de las obras de
arte.
Las acciones son una violación de los valores y estándares cotidianos. Se busca
provocar al sistema de un modo juguetón. La alegría es más importante que el impulso
explícito de provocar, permitiendo al impulso hacer cambios estructurales en el sistema.
Fuerte compromiso social y político.
1. El manifiesto Fluxus de Georges Maciunas como declaración primera de intenciones.
(fotografía de la primera página).
2. Las doce ideas Fluxus:
2.1 Globalismo: en el mundo los límites de los estados políticos no equivalen a los
límites de la naturaleza o la cultura.
Contribución directa a un mundo más democrático.
Antielitismo: Fluxus propone un espacio en el que es posible crear el mayor
valor para el mayor número de personas.
2.2 Unidad del arte y la vida
2.3 Inter-media
2.4 Experimentalismo.
2.5 Azar.
2.6 Carácter lúdico.
2.7 Sencillez.
2.8 Capacidad de implicación.
7. 2.9 Ejemplificación.
2.10 Especificidad.
2.11 Presencia en el tiempo.
2.12 Musicalidad. Cualquier objeto, cualquier útil común, con sus indicaciones de
diseño, color y forma puede leerse en Fluxus como una partitura, como algo traducible
en música.
3. Análisis-estudio crítico sobre Fluxus:
El Happening como de-coll-age (Vostell). La violencia y el dolor. Presencia de éstos en
los eventos.
Dimensión lúdica.
Potencial contradictorio: por un lado el placer y por otro el daño profundo.
Multiculturalismo.
Fetichismo.
El lector. Nuevo rol del público: activo y coprotagonista frente al papel pasivo de antes.
Emplazamiento del autor, productor más bien, en la encrucijada completa creada por la
unión de un arte espacial con otro temporal.
Misoginia en las vanguardias de los años 60.
4. La literatura en Fluxus.
4.1 El performance. Opera en varios niveles intermedia: entre diversas áreas. Los
eventos de Brecht y los Happenings de Vostell.
Los eventos habitan la zona que se extiende entre la poesía y el performance. En el
ámbito de la poesía suponen una reflexión mientras que, en el terreno del performance,
plantean comentarios a modo de instrucciones o materia prima para un performance o
para la creación de "art-objets".
"Los event-scores son un tipo de poesía que llega a los hechos a través de la música"
Brecht.
4.2 Poesía Fluxus.
Características:
-Creada durante una performance (diferencia esencial con la poesía
visual)
-El resultado puede ser un texto, un poema visual, etc.
-Dick Higgins fue uno de los Fluxus que publicó poesía concreta e
8. intermedia.
-Litsa Spath desarrolló el concepto de poesía Fluxus.
-Con el uso de ordenadores se genera un nuevo resultado después de cada
performance.
- Elementos: cortes rápidos, muchas imágenes por segundo, uso de letras
sustituyendo palabras.
-Cuando el resultado es un vídeo se le añade música minimalista.
5. Mapa de artistas Fluxus:
5.1 Pre-fluxus en Colonia antes de 1962.
Schmit, Eimert, Vostell, Patterson, Paik e incluso el compositor Stockhausen.
5.2 Pre-fluxus en Nueva York antes de 1962.
Maciunas, Cage, Marinetti, Hansen, La Monte Youg, Kaprow, Higgins, Brecht,
Maxfield y Flynt.
5.3 Fluxus:
George Maciunas, Alan Kaprow, Joseph Beuys , Nam June Paik, Yoko Ono, Dick
Higgins, Ben Vautier, Carolee Shneemann, Emmett Williams, Wolf Vostell, Alison
Knowles, Geoff Hendricks, Ben Patterson, Emily Harvey, Andy Kaufman, Ray
Johnson, George Brecht…
LITERATURA Y FLUXUS.
Movimientos y artistas cuya obra bebe en gran medida de la idea Fluxus.
Características y puntos en común.
1. Arte avant-garde. Vanguardias históricas; Dadaísmo y Surrealismo.
Artistas: André Breton, Artaud…
2. Letrismo literario. Poesía sonora de consonantes “escupidas” y vocales maulladas.
Contracultura, hedonismo y ardor revolucionario.
9. Artistas: Guy Debord, Maurice Lemaitre e Isidore Isou.
3. Posmodernismo literario. Elementos: collage, cut-up, metaficción. Nueva búsqueda
formal y estructural.
4. Language poets. Estados Unidos, años 60 y 70; movimento todavía vivo. Nuevo
papel del lector.
Artistas: Rae Armantrout, Steve Benson, Abigail Child, Clark Coolidge, Tina Darragh,
Alan Davies, Carla Harryman, P. Inman, Lynne Dryer, Madeline Gins, Fanny Howe,
Susan Howe, Jackson Mac Low…
5. Oulipo (Ouvroir de littérature potentielle) Similar en sus características a los
Language poets. Francia, años 60-70.
Artistas: Noël Arnaud, Marcel Bénabou, Italo Calvino, Marcel Duchamp, Luc Étienne,
Georges Perec, Jacques Roubaud, Albert-Marie Schmidt...
6. Escritura asémica. La inespecificidad semántica y la multiplicidad de significados.
Relevancia del lector.
Artistas: Tim Gaze, Michael Jacobson…
7. El experimentalismo literario en los años 70 y 80. Los juegos de forma, estructura,
lenguaje, estilo y voz.
Artistas: Italo Calvino, Michael Ondaatje y Julio Cortázar.
8. Poesía concreta. Creada en los 50. La tensión de las palabras-cosas en el espacio-
tiempo y la utilización del silencio como determinante del espacio y del tiempo.
Importancia de la voz y la presencia del autor, la performance y la acción. Carácter
global por desarrollarse paralelamente en Brasil y Europa.
Artistas: Eugen Gromringer, Öyvind Falström, Augusto y Haroldo de Campos, Décio
Pignatari, Ronaldo Azeredo…
La poesía concreta del Fluxus Dick Higgins.
9. Poesía visual (como forma visual; diferenciada de la poeía concreta). Minimalismo
del texto frente a la imagen. Sencillez. Aspecto lúdico.
10. Artistas: Babi Badalov.
10. Poesía sonora. Decadencia del significado semántico frente al aspecto fónico.
Importancia de elementos básicos de la música: intensidad, sonido, tiempo, color del
tono, etc. Arte intermedia: híbrido entre el discurso y la música. Introducción de
técnicas fonéticas, ruidos… Carácter experimental.
11 . Poesía nonsense. Aspecto lúdico de la literatura.
12. Haptic poetry. El objeto poético y el arte inter-media.
Artistas: Julian Blaine, John Furnival, Kathy Ernst, Ian Hamilton Finlay…
13. Flarf poetry. Antielitismo. Aspecto lúdico y global.
Maria Damon, Jordan Davis, Katie Degentesh, Sharon Mesmer, K. Silem
Mohammad…
14. Lorem ipsum. Relevancia del diseño frente al significado del texto.
La deconstrucción y destrucción como principio creativo.
15. Ciberliteratura. Narrativa Hipertextual, ciberpoesía y ciberdrama. Interacción de
diferentes géneros artísticos. Ampliación del concepto de literatura. La tecnología al
servicio del arte.
BIBLIOGRAFÍA.
AGÚNDEZ GARCÍA, Jose Antonio. 10 happenings de Wolf Vostell. Mérida: Editora
Regional de Extremadura; Malpartida de Cáceres : Asociación de Amigos del Museo
Vostell Malpartida, [1999].
ANDERSON, Simon. En l'esperit de Fluxus : [exposición], [Walker Art Center,
Minneapolis, Minnesota, 14 febrer - 6 juny 1993...]. Barcelona[etc.] : Fundació Antoni
Tàpies ; Minneapolis : Walker Art Center, cop. 1994.
FERRANDO, Bartolomé. El arte intermedia: convergencias y puntos de cruce.
Valencia: Universidad Politécnica de Valencia, D.L. 2003.
11. GRAY, John. Action art: a bibliography of artists'performance from Futurism to
Fluxus and Beyond. Westport, Connecticut: Greenwood Press, 1993.
HUYSSEN, Andreas. Twilight memories: marking time in a culture of amnesia /
Andreas Huyssen. New York: Routledge, 1995.
SELL, Mike. Avant-garde performance & the limits of criticism: approaching the
Living Theatre, happenings-Fluxus, and the Black Arts movement. Ann Arbor:
University of Michigan Press, 1967.
VV.AA. Fluxus y Fluxfilms : 1962-2002. Madrid: Museo Nacional Centro de Arte
Reina Sofía, D.L. 2002.
VV.AA. Simposio "Happening, fluxus y otros comportamientos artísticos de la segunda
mitad del siglo XX": ponencias y comunicaciones: Cáceres, 12, 13 y 14 de noviembre
de 1999, Malpartida de Cáceres, 13 de noviembre de 1999. Mérida (Badajoz): Editora
Regional de Extremadura, 2001.
WILLIAM, Emmett. My life in flux and vice versa. London: Thames and Hudson,
[1992].
WEBGRAFÍA
www.fluxus.org
www.fluxusheidelberg.org
www.archiviobonotto.org
www.artnotart.com/fluxus
www.uclm.es/artesonoro/olobofluxus.html
www.wikipedia.com