1.
Audio art
–
Sound art is an artistic discipline in which sound is utilised as a primary medium. Like many genres of art, sound art is interdisciplinary in nature. In Western art, early examples include Luigi Russolos Intonarumori or noise intoners, and subsequent experiments by Dadaists, Surrealists, the Situationist International, and in Fluxus happenings. Because of the diversity of art, there is often debate about whether sound art falls within the domain of either the visual art or experimental music categories. The earliest documented use of the term in the U. S. is from a catalogue for a show called Sound/Art at The Sculpture Center in New York City, the show was sponsored by The SoundArt Foundation, which Hellerman founded in 1982. The conjunction of sound and image insists on the engagement of the viewer, forcing participation in space and concrete, responsive thought rather than illusionary space. Catalogue for Sound/Art at The Sculpture Center, New York City, May 1–30,1983, Noise, Water, Meat, A History of Sound in the Arts. Sound Art, Beyond Music, Between Categories, Noise, The Political Economy of Music, translated by Brian Massumi, foreword by Fredric Jameson, afterword by Susan McClary. ISBN 0-8166-1286-2 ISBN 0-8166-1287-0 Bandt, Ros, Sound Sculpture, Intersections in Sound and Sculpture in Australian Artworks. Return to Form, Christoph Cox on Neo-modernist Sound Art—Sound—Column, Sound Art and the Sonic Unconscious. Beyond Representation and Signification, Toward a Sonic Materialism, journal of Visual Culture 10, no. Audio Culture, Readings in Modern Music, toronto, YYZ Books, Banff, Walter Phillips Gallery Editions. New York, Continuum International Publishing Group, ISBN 978-0-8264-1726-8 ISBN 978-0-8264-1727-5 Kim-Cohen, Seth. In the Blink of an Ear, Toward a Non-Cochlear Sonic Art, background Noise, Perspectives on Sound Art. New York and London, The Continuum International Publishing Group, ISBN 0-8264-1844-9 ISBN 0-8264-1845-7 Lander, Dan, and Micah Lexier. ISBN 0-914162-59-4 ISBN 0-914162-60-8 Paik, Nam June, post Music Manifesto, Videa N Videology. Syracuse, New York, Everson Museum of Art, Schaefer, Janek, Bryan Biggs, Christoph Cox, and Sara-Jayne Parsons. Janek Schaefer, Sound Art, A Retrospective, haunted Weather, Music, Silence, and Memory
Audio art
–
Harry Bertoia, Textured Screen, 1954
Audio art
–
Panopticon: The Singing Ringing Tree
Audio art
–
The Blackpool High Tide Organ
Audio art
–
The
Cristal Baschet
2.
Visual art
–
The visual arts are art forms such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, photography, video, filmmaking, literature, and architecture. Many artistic disciplines involve aspects of the arts as well as arts of other types. Also included within the arts are the applied arts such as industrial design, graphic design, fashion design, interior design. Current usage of the visual arts includes fine art as well as the applied, decorative arts and crafts. The distinction was emphasized by artists of the Arts and Crafts Movement, Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts. The increasing tendency to painting, and to a lesser degree sculpture. The Western hierarchy of genres reflected similar attitudes, training in the visual arts has generally been through variations of the apprentice and workshop systems. Visual arts have now become a subject in most education systems. Drawing is a means of making an image, using any of a variety of tools. Digital tools that simulate the effects of these are also used, the main techniques used in drawing are, line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. An artist who excels in drawing is referred to as a draftsman or draughtsman, drawing goes back at least 16,000 years to Paleolithic cave representations of animals such as those at Lascaux in France and Altamira in Spain. In ancient Egypt, ink drawings on papyrus, often depicting people, were used as models for painting or sculpture, drawings on Greek vases, initially geometric, later developed to the human form with black-figure pottery during the 7th century BC. Painting taken literally is the practice of applying pigment suspended in a carrier, like drawing, painting has its documented origins in caves and on rock faces. The finest examples, believed by some to be 32,000 years old, are in the Chauvet, in shades of red, brown, yellow and black, the paintings on the walls and ceilings are of bison, cattle, horses and deer. Paintings of human figures can be found in the tombs of ancient Egypt, in the great temple of Ramses II, Nefertari, his queen, is depicted being led by Isis. The Greeks contributed to painting but much of their work has been lost, one of the best remaining representations are the hellenistic Fayum mummy portraits. Another example is mosaic of the Battle of Issus at Pompeii, Greek and Roman art contributed to Byzantine art in the 4th century BC, which initiated a tradition in icon painting. Apart from the manuscripts produced by monks during the Middle Ages
Visual art
–
Vincent van Gogh:
The Church at Auvers (1890)
Visual art
–
Mosaic of Battle of Issus
Visual art
–
Nefertari with Isis
Visual art
–
Raphael:
Spasimo (1514-1516)
3.
Dada
–
Dada or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire, in New York, and after 1920, in Paris. The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, Dadaist artists expressed their discontent with violence, war, and nationalism, and maintained political affinities with the radical left. Others note that it suggests the first words of a child, evoking a childishness, still others speculate that the word might have been chosen to evoke a similar meaning in any language, reflecting the movements internationalism. The roots of Dada lay in pre-war avant-garde, the term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works which challenge accepted definitions of art. Cubism and the development of collage and abstract art would inform the movements detachment from the constraints of reality, the work of French poets, Italian Futurists and the German Expressionists would influence Dadas rejection of the tight correlation between words and meaning. Works such as Ubu Roi by Alfred Jarry, and the ballet Parade by Erik Satie would also be characterized as proto-Dadaist works, the Dada movements principles were first collected in Hugo Balls Dada Manifesto in 1916. The movement influenced later styles like the avant-garde and downtown music movements, Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I, avant-garde circles outside France knew of pre-war Parisian developments. Futurism developed in response to the work of various artists, many Dadaists believed that the reason and logic of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos, for example, George Grosz later recalled that his Dadaist art was intended as a protest against this world of mutual destruction. According to Hans Richter Dada was not art, it was anti-art, Dada represented the opposite of everything which art stood for. Where art was concerned with aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend, as Hugo Ball expressed it, For us, art is not an end in itself. But it is an opportunity for the perception and criticism of the times we live in. A reviewer from the American Art News stated at the time that Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man. Art historians have described Dada as being, in large part, a systematic work of destruction and demoralization. In the end it became nothing but an act of sacrilege, to quote Dona Budds The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich, Dada rejected reason and logic, prizing nonsense, irrationality and intuition
Dada
–
Cover of the first edition of the publication Dada by
Tristan Tzara;
Zürich, 1917
Dada
–
Francis Picabia, Dame! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920
Dada
–
Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915.
Dada
–
Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90×144 cm,
Nationalgalerie, Staatliche Museen zu Berlin
4.
Fluxus
–
Fluxus is an international and interdisciplinary group of artists, composers, designers and poets that took shape in the 1960s and 1970s. Dutch gallerist and art critic Harry Ruhé describes Fluxus as the most radical and experimental art movement of the sixties, Fluxus is known for experimental contributions to different artistic media and disciplines. Fluxus is also known for generating art forms that were new when Fluxus artists created them, Fluxus participants included artists, composers, designers, and architects, as well as economists, mathematicians, ballet dancers, chefs, and even a would-be theologian. Equally significant, they represented nations on three continents – Asia, Europe, and North America, many Fluxus artists share an anti-commercial and anti-art sensibility. Fluxus is sometimes described as intermedia, the process of creating was privileged over the finished product. Another influence was the readymades of Marcel Duchamp, a French artist who was active in Dada, George Maciunas, a co-founder of this fluid movement, coined the name Fluxus in 1961 to title a proposed magazine. The broad and varied nature of the involved in Fluxus involved a community of friends who worked together. They had different ideas about art and the role of art in society, the overlapping communities within Fluxus and the way that Fluxus developed in overlapping stages meant that participants had very different ideas about what Fluxus was. One Fluxus co-founder – George Maciunas – proposed a well known manifesto, but none of the artists agreed with it. Instead, a series of festivals in Wiesbaden, Copenhagen, Stockholm, Amsterdam, and New York, gave rise to a loose but robust community. In keeping with the reputation Fluxus earned as a forum of experimentation, Fluxus played an important role in the opening up of definitions of art. The origins of Fluxus lie in many of the concepts explored by composer John Cage in his music of the 1930s through the 1960s. After attending courses on Zen Buddhism taught by D. T, a major influence is found in the work of Marcel Duchamp. Also of importance was Dada Poets and Painters, edited by Robert Motherwell, the term anti-art, a precursor to Dada, was coined by Duchamp around 1913, when he created his first readymades from found objects. Indifferently chosen, readymades and altered readymades challenged the notion of art as an inherently optical experience, the most famous example is Duchamps infamous altered readymade Fountain, a work which he signed R. Mutt. While taking refuge from WWI in New York, in 1915 Duchamp formed a Dada group with Francis Picabia, Other key members included Arthur Craven, Florine Stettheimer, and the Baroness Elsa von Freytag-Loringhoven, credited by some with proposing the idea for Fountain to Duchamp. By 1916 these artists, especially Duchamp, Man Ray, and their artworks would inform Fluxus and conceptual art in general. A number of contemporary events are credited as either anticipating Fluxus
Fluxus
–
Fluxus Manifesto, 1963, by
George Maciunas.
Fluxus
–
Flux Year Box 2, c.1967, a Flux box edited and produced by George Maciunas, containing works by many early Fluxus artists.
Fluxus
–
Piano Activities, by Philip Corner, as performed in Wiesbaden, 1962, by (l-r) Emmett Williams, Wolf Vostell, Nam June Paik, Dick Higgins, Benjamin Patterson and George Maciunas
Fluxus
–
Willem de Ridder's Mail Order FluxShop, Amsterdam, with Dorothea Meijer, winter 1964–65. Photo by Willem de Ridder
5.
Pop Art
–
Pop art is an art movement that emerged in the mid-1950s in Britain and the late 1950s in the United States. Pop art presented a challenge to traditions of art by including imagery from popular culture such as advertising. In pop art, material is sometimes removed from its known context, isolated. Pop art employs aspects of culture, such as advertising, comic books. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture and it is also associated with the artists use of mechanical means of reproduction or rendering techniques. Pop art is interpreted as a reaction to the then-dominant ideas of abstract expressionism. Due to its utilization of found objects and images, it is similar to Dada, Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves. Pop art often takes imagery that is currently in use in advertising, product labeling and logos figure prominently in the imagery chosen by pop artists, seen in the labels of Campbells Soup Cans, by Andy Warhol. Even the labeling on the outside of a box containing food items for retail has been used as subject matter in pop art. The origins of pop art in North America developed differently from Great Britain, in the United States, pop art was a response by artists, it marked a return to hard-edged composition and representational art. They used impersonal, mundane reality, irony, and parody to defuse the personal symbolism, in the U. S. some artwork by Larry Rivers, Alex Katz and Man Ray anticipated pop art. By contrast, the origins of pop art in post-War Britain, while employing irony, early pop art in Britain was a matter of ideas fueled by American popular culture when viewed from afar. Similarly, pop art was both an extension and a repudiation of Dadaism, among those artists in Europe seen as producing work leading up to pop art are, Pablo Picasso, Marcel Duchamp, and Kurt Schwitters. During the 1920s, American artists Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery, the Independent Group, founded in London in 1952, is regarded as the precursor to the pop art movement. They were a gathering of young painters, sculptors, architects, writers and their group discussions centered on pop culture implications from elements such as mass advertising, movies, product design, comic strips, science fiction and technology. This material of found objects such as advertising, comic characters, magazine covers. One of the collages in that presentation was Paolozzis I was a Rich Mans Plaything, following Paolozzis seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, particularly mass advertising. Nevertheless, Alloway was one of the critics to defend the inclusion of the imagery of mass culture in the fine arts
Pop Art
–
Richard Hamilton 's collage
Just what is it that makes today's homes so different, so appealing? (1956) is one of the earliest works to be considered "pop art".
Pop Art
–
Andy Warhol, Campbell's Tomato Juice Box, 1964. Synthetic polymer paint and silkscreen ink on wood, 10 inches × 19 inches × 9½ inches (25.4 × 48.3 × 24.1 cm),
Museum of Modern Art,
New York City
Pop Art
–
Charles Demuth,
I Saw the Figure 5 in Gold 1928, collection of the
Metropolitan Museum of Art,
New York City
6.
Absurdism
–
In philosophy, the Absurd refers to the conflict between the human tendency to seek inherent value and meaning in life and the human inability to find any. In this context absurd does not mean logically impossible, but rather humanly impossible, the universe and the human mind do not each separately cause the Absurd, but rather, the Absurd arises by the contradictory nature of the two existing simultaneously. As a philosophy, absurdism furthermore explores the nature of the Absurd and how individuals, once becoming conscious of the Absurd. The absurdist philosopher Albert Camus stated that individuals should embrace the absurd condition of existence while also defiantly continuing to explore. Absurdism shares some concepts, and a common template, with existentialism and nihilism. The aftermath of World War II provided the environment that stimulated absurdist views and allowed for their popular development. In absurdist philosophy, the Absurd arises out of the fundamental disharmony between the search for meaning and the meaninglessness of the universe. As beings looking for meaning in a world, humans have three ways of resolving the dilemma. Kierkegaard and Camus describe the solutions in their works, The Sickness Unto Death and The Myth of Sisyphus, respectively, Suicide, both Kierkegaard and Camus dismiss the viability of this option. Camus states that it does not counter the Absurd, rather, the act of ending ones existence only becomes more absurd. Religious, spiritual, or abstract belief in a transcendent realm, being, or idea, a solution in which one believes in the existence of a reality that is beyond the Absurd, and, as such, has meaning. Kierkegaard stated that a belief in anything beyond the Absurd requires an irrational but perhaps necessary religious acceptance in such an intangible, however, Camus regarded this solution, and others, as philosophical suicide. Acceptance of the Absurd, a solution in which one accepts the Absurd, Kierkegaard, on the other hand, regarded this solution as demoniac madness, He rages most of all at the thought that eternity might get it into its head to take his misery from him. The three schools of thought diverge from there, existentialists have generally advocated the individuals construction of his or her own meaning in life as well as the free will of the individual. Nihilists, on the contrary, contend that it is futile to seek or to affirm meaning where none can be found. Absurdists following Camus also devalue or outright reject free will, encouraging merely that the individual live defiantly and authentically in spite of the tension of the Absurd. Camuss own understanding of the world, and every vision he had for its progress, however, a century before Camus, the 19th century Danish philosopher Søren Kierkegaard wrote extensively about the absurdity of the world. In his journals, Kierkegaard writes about the absurd, Here is another example of the Absurd from his writings, Kierkegaard says, Kierkegaard provides an example in one of his works, Fear and Trembling
Absurdism
–
Sisyphus — the symbol of human being absurdity.
Franz Stuck
Absurdism
–
Kierkegaard designed the relationship framework based (in part) on how a person reacts to
despair. Absurdist philosophy fits into the 'despair of defiance' rubric.
7.
Abstract Expressionism
–
Abstract Expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the art world. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky, technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollocks dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. His long essay Totem Art had considerable influence on artists as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko. Around 1944 Barnett Newman tried to explain Americas newest art movement, paalen is mentioned twice, other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark, additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of working in New York who had quite different styles. Yet all four artists are classified as abstract expressionists, Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Why this style gained mainstream acceptance in the 1950s is a matter of debate, American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression, but also by the muralists of Mexico such as David Alfaro Siqueiros, the political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York such as The Art of This Century Gallery. The McCarthy era after World War II was a time of censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical. Or if the art was political, the message was largely for the insiders, many of the sculptors listed participated in the Ninth Street Show, a famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Although the abstract expressionist school spread throughout the United States, the major centers of this style were New York City. At a certain moment the canvas began to appear to one American painter after another as an arena in which to act, what was to go on the canvas was not a picture but an event. In the 1940s there were not only few galleries but also few critics who were willing to follow the work of the New York Vanguard, there were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman, who functioned as critics as well. Hess, the editor of ARTnews, championed Willem de Kooning
Abstract Expressionism
–
Jackson Pollock,
No. 5, 1948, oil on
fiberboard, 244 × 122 cm. (96 × 48 in.), private collection
Abstract Expressionism
–
David Smith,
Cubi VI (1963),
Israel Museum,
Jerusalem. David Smith was one of the most influential American sculptors of the 20th century.
Abstract Expressionism
–
Mark Tobey, Canticle, 1954. Tobey, like Pollock, was known for his calligraphic style of allover compositions.
Abstract Expressionism
–
Willem de Kooning, Woman V, 1952–1953. De Kooning's series of Woman paintings in the early 1950s caused a stir in the
New York City avant-garde circle.
8.
Marcel Duchamp
–
Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his artists as retinal art. Instead, Duchamp wanted to use art to serve the mind, Marcel Duchamp was born at Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his grandfather, filled the house, and the family liked to play chess, read books, paint. Of Eugene and Lucie Duchamps seven children, one died as an infant, Marcel Duchamp was the brother of, Jacques Villon, painter, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter. At 8 years old, Duchamp followed in his brothers footsteps when he left home and began schooling at the Lycée Pierre-Corneille, two other students in his class also became well-known artists and lasting friends, Robert Antoine Pinchon and Pierre Dumont. For the next 8 years, he was locked into a regime which focused on intellectual development. Though he was not a student, his best subject was mathematics. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize and he learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamps true artistic mentor at the time was his brother Jacques Villon, whose fluid, at 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he painted landscapes in an Impressionist style using oils. Duchamps early art works align with Post-Impressionist styles and he experimented with classical techniques and subjects. He studied art at the Académie Julian from 1904 to 1905, during this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns, visual puns, or both, such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his military service with the 39th Infantry Regiment. There he learned typography and printing processes—skills he would use in his later work, due to his eldest brother Jacques membership in the prestigious Académie royale de peinture et de sculpture Duchamps work was exhibited in the 1908 Salon dAutomne. The following year his work was featured in the Salon des Indépendants, of Duchamps pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called Duchamps very ugly nudes. The group came to be known as the Puteaux Group, or the Section dOr, uninterested in the Cubists seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy
Marcel Duchamp
–
Portrait of Marcel Duchamp, 1920-21, by
Man Ray, Yale University Art Gallery
Marcel Duchamp
Marcel Duchamp
–
Three Duchamp brothers, left to right: Marcel Duchamp,
Jacques Villon, and
Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (
Smithsonian Institution collections.)
Marcel Duchamp
9.
Kurt Schwitters
–
Kurt Hermann Eduard Karl Julius Schwitters was a German artist who was born in Hanover, Germany. He is most famous for his collages, called Merz Pictures, Kurt Schwitters was born on 20 June 1887 in Hanover, at Rumannstraße No.2, now, No. 8, the child of Eduard Schwitters and his wife Henriette. His father was proprietor of a clothes shop. In 1893, the moved to Waldstraße 5, future site of the Merzbau. In 1901, Schwitters suffered his first epileptic seizure, a condition that would exempt him from service in World War I until late in the war. After studying art at the Dresden Academy alongside Otto Dix and George Grosz, 1909–15, Schwitters returned to Hanover, in 1911 he took part in his first exhibition, in Hanover. As the First World War progressed his work became darker, gradually developing a distinctive expressionist tone, Schwitters spent the last one-and-half years of the war working as a drafter in a factory just outside Hanover. He was conscripted into the 73rd Hanoverian Regiment in March 1917, by his own account, his time as a draftsman influenced his later work, and inspired him to depict machines as metaphors of human activity. In the war I discovered my love for the wheel and realized that machines are abstractions of the human spirit and he married his cousin Helma Fischer on 5 October 1915. In 1918, his art was to change dramatically as a consequence of Germanys economic, political. In the war, things were in terrible turmoil, what I had learned at the academy was of no use to me and the useful new ideas were still unready. Everything had broken down and new things had to be out of the fragments. It was like a revolution within me, not as it was, Schwitters was to come into contact with Herwarth Walden after exhibiting expressionist paintings at the Hanover Secession in February 1918. He showed two Abstraktionen at Waldens gallery Der Sturm, in Berlin, in June 1918 and this resulted in meetings with members of the Berlin Avant-garde, including Raoul Hausmann, Hannah Höch, and Hans Arp in the autumn of 1918. The night he introduced himself in the Café des Westens, im a painter, he said, and I nail my pictures together. Schwitters asked to join Berlin Dada either in late 1918 or early 1919, Hausmanns anecdote about Schwitters asking to join Berlin Dada is, however, somewhat dubious, for there is well-documented evidence that Schwitters and Huelsenbeck were on amicable terms at first. When they first met in 1919, Huelsenbeck was enthusiastic about Schwitters’s work and promised his assistance, when Huelsenbeck visited him at the end of the year, Schwitters gave him a lithograph and though their friendship was by now strained, Huelsenbeck wrote him a conciliatory note
Kurt Schwitters
–
Kurt Schwitters, London 1944
Kurt Schwitters
–
Das Undbild, 1919, Staatsgalerie Stuttgart
Kurt Schwitters
–
Cover of Anna Blume, Dichtungen, 1919
Kurt Schwitters
–
Untitled (Oval Construction), c.1925, Yale University Art Gallery
10.
Aesthetics
–
Aesthetics is a branch of philosophy that explores the nature of art, beauty, and taste, with the creation and appreciation of beauty. It is more defined as the study of sensory or sensori-emotional values, sometimes called judgements of sentiment. More broadly, scholars in the field define aesthetics as critical reflection on art, in modern English, the term aesthetic can also refer to a set of principles underlying the works of a particular art movement or theory, one speaks, for example, of the Cubist aesthetic. The word aesthetic is derived from the Greek αἰσθητικός, which in turn was derived from αἰσθάνομαι, for some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object, philosophical aesthetics has not only to speak about art and to produce judgments about art works, but has also to give a definition of what art is. Art is an entity for philosophy, because art deals with the senses. Hence, there are two different conceptions of art in aesthetics, art as knowledge or art as action, any aesthetic doctrines that guided the production and interpretation of prehistoric art are mostly unknown. Western aesthetics usually refers to Greek philosophers as the earliest source of aesthetic considerations. Plato believed in beauty as a form in which beautiful objects partake and he felt that beautiful objects incorporated proportion, harmony, and unity among their parts. Similarly, in the Metaphysics, Aristotle found that the elements of beauty were order, symmetry. From the late 17th to the early 20th century Western aesthetics underwent a revolution into what is often called modernism. German and British thinkers emphasized beauty as the key component of art and of the aesthetic experience, and saw art as necessarily aiming at absolute beauty. For Alexander Gottlieb Baumgarten aesthetics is the science of the experiences, a younger sister of logic. For Immanuel Kant the aesthetic experience of beauty is a judgment of a subjective but similar human truth, however, beauty cannot be reduced to any more basic set of features. For Friedrich Schiller aesthetic appreciation of beauty is the most perfect reconciliation of the sensual and rational parts of human nature, for Friedrich Wilhelm Joseph Schelling, the philosophy of art is the organon of philosophy concerning the relation between man and nature. So aesthetics began now to be the name for the philosophy of art, Friedrich von Schlegel, August Wilhelm Schlegel, Friedrich Schleiermacher and Georg Wilhelm Friedrich Hegel also gave lectures on aesthetics as philosophy of art after 1800. For Hegel, all culture is a matter of absolute spirit coming to be manifest to itself, stage by stage, Art is the first stage in which the absolute spirit is manifest immediately to sense-perception, and is thus an objective rather than subjective revelation of beauty. It is thus for Schopenhauer one way to fight the suffering, the British were largely divided into intuitionist and analytic camps
Aesthetics
–
Bronze sculpture, thought to be either
Poseidon or
Zeus,
National Archaeological Museum of Athens
Aesthetics
–
Cubist painting by
Georges Braque, Violin and Candlestick (1910)
Aesthetics
–
William Hogarth, self-portrait, 1745
Aesthetics
–
Example of the
Dada aesthetic,
Marcel Duchamp 's Fountain 1917
11.
Robert Motherwell
–
Robert Motherwell was an American painter, printmaker, and editor. He was one of the youngest of the New York School, which also included Philip Guston, Willem de Kooning, Jackson Pollock, and Mark Rothko. Robert Motherwell was born in Aberdeen, Washington on January 24,1915, the family later moved to San Francisco, where Motherwells father served as president of Wells Fargo Bank. Due to the asthmatic condition, Motherwell was reared largely on the Pacific Coast. There he developed a love for the spaces and bright colours that later emerged as essential characteristics of his abstract paintings. His later concern with themes of mortality can likewise be traced to his health as a child. Between 1932 and 1937, Motherwell briefly studied painting at California School of Fine Arts, San Francisco, at Stanford Motherwell was introduced to modernism through his extensive reading of symbolist and other literature, especially Mallarmé, James Joyce, Edgar Allan Poe, and Octavio Paz. This passion stayed with Motherwell for the rest of his life, at the age of 20 Motherwell traveled to Europe with his father and sister. They made a Grand Tour starting in Paris, then went to Amalfi, Italy, Switzerland, Germany, The Netherlands, and London, so with that agreed on Harvard then—it was actually the last year—Harvard still had the best philosophy school in the world. And since I had taken my degree at Stanford in philosophy, in fact, it was Berger who advised Motherwell to continue his education at Columbia University, under Meyer Shapiro. In 1940, Motherwell moved to New York to study at Columbia University, Shapiro introduced the young artist to a group of exiled Parisian Surrealists and arranged for Motherwell to study with Kurt Seligmann. The time that Motherwell spent with the Surrealists proved to be influential to his artistic process, after a 1941 voyage with Roberto Matta to Mexico—on a boat where he met Maria, an actress and his future wife—Motherwell decided to make painting his primary vocation. The sketches Motherwell made in Mexico later evolved into his first important paintings, such as Little Spanish Prison and it was Matta who introduced Motherwell to the concept of “automatic” drawings. The Surrealists often deployed the process of automatism, or abstract “automatic” doodling to tap into their unconscious and it was also Paalen who introduced Motherwell to André Breton with an introduction letter. In 1991, shortly before he died, Motherwell remembered a conspiracy of silence regarding Paalen´s innovative role in the genesis of Abstract Expressionism, I mean I say this unqualifiedly. I was painting French intimate pictures or whatever and he asked me to find some other American artists that would help start a new movement. It was then that Baziotes and I went to see Pollock and de Kooning and Hofmann and Kamrowski and Busa, and if we could come with something. Peggy Guggenheim who liked us said that she would put on a show of new business
Robert Motherwell
–
Elegy to the Spanish Republic No. 110 by Robert Motherwell, 1971,
Solomon R. Guggenheim Museum
Robert Motherwell
–
Untitled oil on canvas by Robert Motherwell, 1963,
Honolulu Museum of Art
12.
Bourgeoisie
–
A legally defined class of the Middle Ages to the end of the Ancien Régime in France, that of inhabitants having the rights of citizenship and political rights in a city. This bourgeoisie destroyed aristocratic privilege and established civic equality after the French monarchy collapsed, the aristocracy crumbled because it refused to reform institutions and financial systems. An affluent and often opulent stratum of the class who stand opposite the proletariat class. In English, bourgeoisie identified a social class oriented to economic materialism and hedonism, hence, since the 19th century, the term bourgeoisie usually is politically and sociologically synonymous with the ruling upper class of a capitalist society. The 18th century saw a partial rehabilitation of bourgeois values in such as the drame bourgeois and bourgeois tragedy. The bourgeoisie emerged as a historical and political phenomenon in the 11th century when the bourgs of Central and this urban expansion was possible thanks to economic concentration due to the appearance of protective self-organisation into guilds. Guilds arose when individual businessmen conflicted with their feudal landlords who demanded greater rents than previously agreed. In English, the bourgeoisie is often used to denote the middle classes. In fact, the French term encompasses both the upper and middle classes, a misunderstanding which has occurred in other languages as well. The bourgeoisie in France and many French-speaking countries consists of four evolving social layers, petite bourgeoisie, moyenne bourgeoisie, grande bourgeoisie, the petite bourgeoisie consists of people who have experienced a brief ascension in social mobility for one or two generations. It usually starts with a trade or craft, and by the second and third generation, the petite bourgeois would belong to the British lower middle class and would be American middle income. They are distinguished mainly by their mentality, and would differentiate themselves from the proletariat or working class and this class would include artisans, small traders, shopkeepers, and small farm owners. They are not employed, but may not be able to afford employees themselves, the moyenne bourgeoisie or middle bourgeoisie contains people who have solid incomes and assets, but not the aura of those who have become established at a higher level. They tend to belong to a family that has been bourgeois for three or more generations, some members of this class may have relatives from similar backgrounds, or may even have aristocratic connections. The moyenne bourgeoisie is the equivalent of the British and American upper-middle classes, the grande bourgeoisie are families that have been bourgeois since the 19th century, or for at least four or five generations. Members of these tend to marry with the aristocracy or make other advantageous marriages. This bourgeoisie family has acquired an established historical and cultural heritage over the decades, the names of these families are generally known in the city where they reside, and their ancestors have often contributed to the regions history. These families are respected and revered and they belong to the upper class, and in the British class system are considered part of the gentry
Bourgeoisie
–
The prototypical bourgeois: Monsieur Jourdain, the protagonist in
Molière 's play
Le Bourgeois gentilhomme (1670).
Bourgeoisie
–
The 16th-century German banker
Jakob Fugger and his principal accountant, M. Schwarz, registering an entry to a ledger. The background shows a file cabinet indicating the European cities where the Fugger Banker conducts business. (1517)
Bourgeoisie
–
Thomas Mann (1875–1955) portrayed the moral, intellectual, and physical decadence of the German upper bourgeoisie in the novel
Buddenbrooks (1926)
13.
Piero Manzoni
–
Meroni Manzoni di Chiosca e Poggiolo, better known as Piero Manzoni was an Italian artist best known for his ironic approach to avant-garde art. Manzoni is most famous for a series of artworks that call into question the nature of the art object and his work eschews normal artists materials, instead using everything from rabbit fur to human excrement in order to tap mythological sources and to realize authentic and universal values. His work is seen as a critique of the mass production. Italian artists such as Manzoni had to negotiate the new economic and material order of post-war Europe through inventive artistic practices which crossed geographic, artistic, Manzoni died of myocardial infarction in his studio in Milan on February 6,1963. His contemporary Ben Vautier signed Manzonis death certificate, declaring it a work of art, Manzoni was born in Soncino, province of Cremona. His full name was Count Meroni Manzoni di Chiosca e Poggiolo, self-taught as an artist, Manzoni first exhibited at the Soncinos Castle in Soncino in August 1956, at the age of 23. His early work was broadly gestural, and showed the influence of Milanese proponents of Nuclear Art and his later works, from approximately 1957 until his death in 1963, questioned and satirized the status of the art object as it had been conceived throughout modernism. Influences include earlier artists like Marcel Duchamp and contemporaneous practitioners Ben Vautier, Manzonis work changed irrevocably after visiting Yves Kleins exhibition Epoca Blu at the Galleria Apollinaire in Milan, January 1957. This exhibition consisted of 11 identical blue monochromes, by the end of the year he had ceased producing work influenced by the prevailing trends in Art Informel, to works that responded directly to Kleins monochromes. Called Achromes, they looked white but were actually colourless. In these paintings Manzoni experimented with various pigments and materials, initially favouring canvases coated in gesso, he also worked with kaolin, another form of white clay often used in the production of porcelain. As well as Yves Klein, these showed the influence of Lucio Fontana and Alberto Burri and the American artist Robert Rauschenberg. Later he would create Achromes from white wool, fiberglass, rabbit skin. He also experimented with phosphorescent paint and cobalt chloride so that the colours would change over time, in addition to these fabricated materials, the artists own bodily products and features became art. In addition to his famous Merda dArtista, in which Manzonis own excrement became a series of art objects, the use of fingerprints, blood, Manzoni founded the Gallery Azimuth in Milan in 1959 with the artist Enrico Castellani, and staged a series of revolutionary exhibitions of multiples. The first,12 Linee took place in December 1959, quickly followed by Corpi dAria in May 1960 and this was an edition of 45 balloons on tripods that could be blown up by the buyer, or the artist himself, depending on the price paid. The eggs themselves were titled Uova con impronta and this was the last exhibition by Manzoni at Azimuth, after which the gallery was forced to close when the lease ran out. Although the invitation named the Gallery Azimuth as the location of the opening, the discrepancy between the location on the invitation and the film studio where the event was recorded further complicates the role and space of art as it was expected to be seen
Piero Manzoni
–
Piero Manzoni, 1960
Piero Manzoni
–
Achrome, 1961-62.
Piero Manzoni
–
Artist's Breath, 1960.
14.
Collage
–
Collage is a technique of an art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole. The origins of collage can be traced back hundreds of years, the term collage was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art. Techniques of collage were first used at the time of the invention of paper in China, around 200 BC. The use of collage, however, wasnt used by many people until the 10th century in Japan, when began to apply glued paper, using texts on surfaces. The technique of collage appeared in medieval Europe during the 13th century, gold leaf panels started to be applied in Gothic cathedrals around the 15th and 16th centuries. Gemstones and other metals were applied to religious images, icons. An 18th-century example of art can be found in the work of Mary Delany. In the 19th century, collage methods also were used among hobbyists for memorabilia, the exhibition later traveled to The Metropolitan Museum of Art and The Art Gallery of Ontario. For example, the Tate Gallerys online art glossary states that collage was first used as a technique in the twentieth century. The glued-on patches which Braque and Picasso added to their canvases offered a new perspective on painting when the patches collided with the plane of the painting. Collage in the modernist sense began with Cubist painters Georges Braque, according to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim Museums online article about collage, Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after, It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper, Picasso immediately began to make his own experiments in the new medium. In 1912 for his Still Life with Chair Caning, Picasso pasted a patch of oilcloth with a design onto the canvas of the piece. Surrealist artists have made use of collage. Cubomania is a made by cutting an image into squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps identical, method are called etrécissements by Marcel Mariën from a method first explored by Mariën, surrealist games such as parallel collage use collective techniques of collage making. Many of these artists used techniques in their work
Collage
–
Kurt Schwitters, Das Undbild, 1919, Staatsgalerie Stuttgart
Collage
–
Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90x144 cm, Staatliche Museum,
Berlin.
Collage
–
Pablo Picasso, 1913-14, Head (Tête), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 x 33 cm,
Scottish National Gallery of Modern Art, Edinburgh
Collage
–
What may be called wood collage is the dominant feature in this 1964
mixed media painting by
Jane Frank (1918–1986)
15.
Assemblage (art)
–
Assemblage is an artistic form or medium usually created on a defined substrate that consists of three-dimensional elements projecting out of or from the substrate. It is similar to collage, a two-dimensional medium and it is part of the visual arts, and it typically uses found objects, but is not limited to these materials. The origin of the art form dates to the cubist constructions of Pablo Picasso c, the origin of the word can be traced back to the early 1950s, when Jean Dubuffet created a series of collages of butterfly wings, which he titled assemblages dempreintes. However, both Marcel Duchamp, Pablo Picasso and others had been working with found objects for many years prior to Dubuffet, Russian artist Vladimir Tatlin created his counter-reliefs in the mid 1910s. Alongside Tatlin, the earliest woman artist to try her hand at assemblage was Elsa von Freytag-Loringhoven, in Paris in the 1920s Alexander Calder, Jose De Creeft, Picasso and others began making fully 3-dimensional works from metal scraps, found metal objects and wire. In the U. S. one of the earliest and most prolific assemblage artists was Louise Nevelson, in 1961, the exhibition The Art of Assemblage was featured at the New York Museum of Modern Art. William C Seitz, the curator of the exhibition, described assemblages as being made up of preformed natural or manufactured materials, objects, arman, French artist, sculptor and painter. Hans Bellmer, a German artist known for his life-sized female dolls, wallace Berman, an American artist known for his verifax collages. André Breton, a French artist, regarded as a founder of Surrealism. John Chamberlain, a Chicago artist known for his sculptures of welded pieces of wrecked automobiles, greg Colson, an American artist known for his wall sculptures of stick maps, constructed paintings, solar systems, directionals, and intersections. Many of his boxes, such as the famous Medici Slot Machine boxes, are interactive and are meant to be handled, rosalie Gascoigne, a New Zealand-born Australian sculptor. Raoul Hausmann, an Austrian artist and writer and a key figure in Berlin Dada, his most famous work is the assemblage Der Geist Unserer Zeit - Mechanischer Kopf, Robert H. Hudson, an American artist. Jasper Johns, an American Pop artist, painter, printmaker, jean-Jacques Lebel, in 1994 installed a large assemblage entitled Monument à Félix Guattari in the Forum of the Centre Pompidou. Janice Lowry, American artist known for art in the form of assemblage, artist books, and journals. Ondrej Mares, a Czech-Australian artist and sculptor best known for his Kachina figures - a series of works. Markus Meurer, a German artist, known for his sculptures from found objects Louise Nevelson and she used found objects or everyday discarded things in her “assemblages” or assemblies, one of which was three stories high. Meret Oppenheim, a German-born Swiss artist, identified with the Surrealist movement, wolfgang Paalen, an Austrian-German-Mexican surrealist artist and theorist, founder of the magazine DYN and known for several assembled objects, f. e. Nuage articulé Robert Rauschenberg, painter and collagist known for his mixed media works during six decades, fred H. Roster, an American sculptor
Assemblage (art)
–
Robert Rauschenberg, Canyon, 1959, Assemblage: oil, housepaint, pencil, paper, fabric, metal, buttons, nails, cardboard, printed paper, photographs, wood, paint tubes, mirror string, pillow & bald eagle on canvas,
National Gallery of Art,
Washington, DC.
Assemblage (art)
–
Johann Dieter Wassmann (
Jeff Wassmann), Vorwarts! (Go Forward!), 1897 (2003).
16.
Richard Stankiewicz
–
Richard Stankiewicz was an American sculptor, known for his work in scrap metal. Stankiewicz was born in Philadelphia, but spent his years in Detroit. He began painting and sculpting while in the United States Navy, beginning in 1948 and continuing into the following year, he studied in New York City with Hans Hofmann, in 1950-51, in Paris, he studied with Fernand Léger and Ossip Zadkine. Upon his return to New York, Stankiewicz joined the cooperative Hansa Gallery, he exhibited there until the end of the 1950s, in 1962 he left the city for Huntington, Massachusetts. Stankiewicz continued to exhibit internationally until his death in 1983, biography at Ro Gallery Richard Stankiewicz Online
Richard Stankiewicz
–
Detail of Figure; 1956; steel, iron, and concrete; in the collection of the Hirshhorn Museum and Sculpture Garden
Richard Stankiewicz
–
"Miracle in the Scrap Heap", displayed in the
Ilana Goor Museum,
Jaffa.
17.
Jean Tinguely
–
Jean Tinguely was a Swiss painter and sculptor. He is best known for his sculptural machines or kinetic art, in the Dada tradition, Tinguelys art satirized the mindless overproduction of material goods in advanced industrial society. Born in Fribourg, Tinguely grew up in Basel, but moved to France in 1952 with his first wife, Swiss artist Eva Aeppli and he belonged to the Parisian avantgarde in the mid-twentieth century and was one of the artists who signed the New Realists manifesto in 1960. 2, detonated successfully in front of an audience gathered in the desert outside Las Vegas, Tinguely married fellow Swiss artist Eva Aeppli in 1951. In 1971, Tinguely married his wife, Niki de Saint Phalle with whom he collaborated on several artistic projects such as the Hon-en-Katedrall or The Cyclop. Jean Tinguely died in 1991 at the age of 66 years in the Bern Hospital after a heart illness, chaos I, sculpture in The Commons, Columbus, Indiana, USA Le Cyclop outside of Milly-la-Forêt. The Stravinsky Fountain near the Centre Pompidou, Paris, a collaboration with Niki de Saint Phalle, the exhibition consisted of a sculpture of a colorful pregnant woman lying on her back with her legs wide apart. The sculpture was 25–26 meters long, about 6 meters high and 11 meters wide and it was built of scaffolding and chicken wire covered with fabric and fiberglass, painted with brightly-coloured poster paint. Through a door-sized entry in the location of the womans vagina, inside was a screen showing Greta Garbo films, a goldfish pond and a soft drink vending machine. Johann Sebastian Bachs organ music played through speakers, the exhibition was created by Niki de Saint-Phalle, Tinguely and Per Olof Ultvedt. It had 80,000 visitors during the period from June 4 to September 9,1966. in ‘Meridians 2_ compmqenan ate a pie 2001 ‘Relief Meta-Mechanique Sonore I’ incl. New Realism Rube Goldberg—Conceptual pioneer of complex machinery Useless machine Arthur Ganson Museum Tinguely in Basel Chapter on Tinguely in Calvin Tomkins The Bride. K. G. Pontus Hultén, Jean Tinguely Méta, london, Thames & Hudson,1975 G. Bischofsberger, Catalogue raisonné,3 Vols. Margit Hahnloser-Ingold, Pandämonium – Jean Tinguely, Bern, Benteli,1988 Heidi E. Violand, Jean Tinguelys Kinetic Art or A Myth of the Machine Age. Diss, New York University,1990 Museum Jean Tinguely, Die Sammlung, Bern, Benteli,1996 Museum Jean Tinguely, Jean le Jeune. Tinguely-Museum in Basel Biography by the Tinguely Museum in Basel Art Cyclopaedia, Jean Tinguely http, //www. art-public. com/cyclop/cyclop_g
Jean Tinguely
–
Jean Tinguely portrait by
Lothar Wolleh
Jean Tinguely
–
The Tinguely Fountain in front of the Tinguely Museum in
Basel
Jean Tinguely
–
Tinguely's Heureka in
Zürich -
Seefeld (
Zürichhorn)
18.
Robert Rauschenberg
–
Milton Ernest Robert Rauschenberg was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his Combines of the 1950s, in which non-traditional materials, Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance. He was awarded the National Medal of Arts in 1993 and he became the recipient of the Leonardo da Vinci World Award of Arts in 1995 in recognition of his more than 40 years of fruitful artmaking. Rauschenberg lived and worked in New York City as well as on Captiva Island, Rauschenberg was born as Milton Ernest Rauschenberg in Port Arthur, Texas, the son of Dora Carolina and Ernest R. Rauschenberg. His father was of German and Cherokee ancestry and his mother of Anglo-Saxon descent, at 16, Rauschenberg was admitted to the University of Texas where he began studying pharmacy. He was drafted into the United States Navy in 1943, based in California, he served as a mental hospital technician until his discharge in 1945. Rauschenberg subsequently studied at the Kansas City Art Institute and the Académie Julian in Paris, France, in 1948 Rauschenberg and Weil decided to attend Black Mountain College in North Carolina. Josef Albers, a founder of the Bauhaus, became Rauschenbergs painting instructor at Black Mountain, Albers preliminary courses relied on strict discipline that did not allow for any uninfluenced experimentation. Rauschenberg described Albers as influencing him to do exactly the reverse of what he was being taught, from 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York, where he met fellow artists Knox Martin and Cy Twombly. Rauschenberg married Susan Weil in the summer of 1950 at the Weil family home in Outer Island and their only child, Christopher, was born July 16,1951. The two separated in June 1952 and divorced in 1953, according to a 1987 oral history by the composer Morton Feldman, after the end of his marriage, Rauschenberg had romantic relationships with fellow artists Cy Twombly and Jasper Johns. An article by Jonathan D. Katz states that Rauschenbergs affair with Twombly began during his marriage to Susan Weil, Rauschenberg died on May 12,2008, on Captiva Island, Florida. He died of heart failure after a decision to go off life support. Rauschenberg is survived by his partner of 25 years, artist Darryl Pottorf, Rauschenberg is also survived by his son, photographer Christopher Rauschenberg, and his sister, Janet Begneaud. Rauschenbergs approach was sometimes called Neo Dadaist, a label he shared with the painter Jasper Johns, at the same time, Johns paintings of numerals, flags, and the like, were reprising Duchamps message of the role of the observer in creating arts meaning. Alternatively, in 1961, Rauschenberg took a step in what could be considered the direction by championing the role of creator in creating arts meaning. Rauschenberg was invited to participate in an exhibition at the Galerie Iris Clert, Rauschenbergs submission consisted of a telegram sent to the gallery declaring This is a portrait of Iris Clert if I say so. From the fall of 1952 to the spring of 1953 Rauschenberg traveled through Europe and North Africa with his fellow artist, in Morocco, he created collages and boxes out of trash
Robert Rauschenberg
–
Robert Rauschenberg (1968)
Robert Rauschenberg
–
Canyon (1959)
Robert Rauschenberg
–
Robert Rauschenberg, Riding Bikes,
Berlin, Germany, 1998.
Robert Rauschenberg
–
Robert Rauschenberg, untitled "combine," 1963.
19.
Arman
–
Arman was a French-born American artist. Born Armand Fernandez in Nice, France, Arman was a painter who moved from using objects for the ink or paint traces they leave to using them as the painting itself and he is best known for his accumulations and destruction/recomposition of objects. Armans father, Antonio Fernandez, a dealer from Nice, was also an amateur artist, photographer. From his father, Arman learned oil painting and photography, after receiving his bachelors degree in philosophy and mathematics in 1946, Arman began studying at the École Nationale des Arts Décoratifs in Nice. He also started judo at a school in Nice where he met Yves Klein. The trio bonded closely on a subsequent hitch-hiking tour around Europe, completing his studies in 1949, Arman enrolled as a student at the École du Louvre in Paris, where he concentrated on the study of archaeology and oriental art. In 1951, he became a teacher at the Bushido Kai Judo Club in Madrid, during this time he also served in the French military, completing his tour of duty as a medical orderly during the Indo-China War. Early on, it was apparent that Armans concept of the accumulation of vast quantities of the objects was to remain a significant component of his art. Ironically, he had focused more attention on his abstract paintings. Only when he witnessed viewer reaction to his first accumulation in 1959 did he fully recognize the power of such art, in 1962, he began welding together accumulations of the same kinds of metal objects, such as axes. Inspired by an exhibition for the German Dadaist Kurt Schwitters in 1954, Arman began working on Cachets, at his third solo exhibition held in Pariss Galerie Iris Clert in 1958, Arman showed some of his first 2D accumulations he called cachets. These stamps on paper and fabric proved a success and provided an important change of course for the artists career. At the time, he was signing with his first name as an homage to Van Gogh, and, thus, in 1957, Arman chose to change his name from Armand to Arman. On January 31,1973, upon becoming a citizen of the United States, he took the American civil name, nevertheless, he continued to use Arman as his public persona. From 1959 to 1962, Arman developed his most recognizable style, accumulations were collections of common and identical objects which he arranged in polyester castings or within Plexiglas cases. His first welded accumulations were created in 1962, the Poubelles were collections of strewn refuse. In 1960, he filled the Galerie Iris Clert in Paris with garbage and these works began to garner the attention of the European art community. Joined later by Cesar, Mimmo Rotella, Niki de Saint Phalle, and Christo and they were reassessing the concept of art and the artist for a 20th-century consumer society by reasserting the humanistic ideals in the face of industrial expansion
Arman
–
Portrait of Arman by Lothar Wolleh, 1963.
Arman
–
Avalanch (1990),
Tel Aviv University campus.
Arman
–
Arman in front of one of his Accumulations (1969)
Arman
–
Eros, Inside Eros, bronze of 1986, in the
Hirshhorn Museum and Sculpture Garden
20.
Daniel Spoerri
–
Daniel Spoerri is a Swiss artist and writer born in Romania. Spoerri was born Daniel Isaac Feinstein, on 27 March 1930, in Galați, although his father, Isaac Feinstein, had converted to Christianity, after Romania entered the War on the side of Nazi Germany he was arrested and killed in 1941. His mother, born Lydia Spoerri, was Swiss and was able to emigrate with her family of 6 children to Switzerland in 1942. There, he was adopted by his maternal uncle Professor Theophil Spoerri and registered as Daniel Spoerri, in the 1950s he was active in dance, studying classical dance with Olga Preobrajenska and in 1954 becoming the lead dancer at the State Opera of Bern, Switzerland. He later staged several plays including Ionescos The Bald Soprano. In the late 1950s, Spoerri married Vera Mertz, one of the best known works produced by Editions MAT was Man Rays Indestructible Object. Spoerri is credited with coining the term multiples for such works, in 1960, Spoerri made his first snare-picture. Spoerri later explained snare-pictures as follows, objects found in chance positions, only the plane is changed, since the result is called a picture, what was horizontal becomes vertical. Example, remains of a meal are fixed to the table at which the meal was consumed and his first snare-picture, Kichkas Breakfast was created from his girlfriends leftover breakfast. The piece is now in the collection in the Museum of Modern Art in New York, one snare-picture, made in 1964, consists of the remains of a meal eaten by Marcel Duchamp. This work holds the auction record for Spoerri, selling for €136,312 in January 2008, distantly followed by another snare-picture from 1972. In connection with a show of his snare-pictures at the Galerie Lawrence in Paris in 1962. Spoerri was then living at the Hotel Carcassone in Paris, in room number 13 on the fifth floor, to the right of the entrance door was a table which his wife Vera had painted blue. Spoerri drew on a ‘map the overlapping outlines of all the 80 objects that were lying on the table on 17 October 1961 at exactly 3,47 p. m. Each object was assigned a number and Spoerri wrote a description of each object. The descriptions cross referenced other objects on the table which were related, the Topographie Anécdotée* du Hasard was printed as a small pamphlet of 53 pages plus a fold out map and index and was distributed as an advertisement for the exhibit. The Anecdoted Topography of Chance has been called a tour de force. In 1966, the Something Else Press in New York City published an English translation of the Topographie Anécdotée* du Hasard by Emmett Williams, roland Topor added sketches of each object and additional annotations were added at random by Williams and others and by Spoerri himself
Daniel Spoerri
–
Portrait of Daniel Spoerri, Mailand, Photo:
Lothar Wolleh
Daniel Spoerri
–
Daniel Spoerri with snare-picture.
Daniel Spoerri
–
Portion of map of objects on table, Topographie Anécdotée* du Hasard.
21.
J. Bernlef
–
Hendrik Jan Marsman, better known by his pen name, J. Bernlef, was a Dutch writer, poet, novelist and translator, much of whose work centres on mental perception of reality and its expression. He won numerous awards, including the Constantijn Huygens Prize in 1984. Hooft Award in 1994, both of which were for his work as a whole and his book Hersenschimmen features on the list of NRCs Best Dutch novels. Together with two poets, K. Schippers and G. Brands, he went on to visit the Dada exhibition at the Stedelijk Museum. In 1960 his first poetry collection, Kokkels was awarded the Reina Prinsen Geerligs-prijs, in that year he married Eva Hoornik, daughter of the poet Ed. Hoornik, by whom he eventually had two children, at the same time, his friend Schippers married her twin sister Erica. Later he began writing novels and became known for his Hersenschimmen in 1984. He was a writer and shortly before his death a photo showed the pile of his works as equaling him in height. Bernlef died on 29 October 2012, aged 75, at his home in Amsterdam after a short illness, one tribute paid to Bernlef then hailed him as one of the greats of Dutch literature. Another, from Sara Whyatt, Deputy Director of PEN International, pointed out that “Henk was not only a writer himself. One issue was composed entirely of wallpaper samples, under Bernlef’s name appeared a shopping list, while another text titled “Door” consists of only the words “Push/Pull”. In their study Een cheque voor de tandarts, Bernlef and Schippers mention Marcel Duchamp, the approach of both authors was to suggest disruptive uses of everyday media in order to challenge the view of reality. Schippers’ poem “Jigsaw Puzzles” consists of a series of suggestions for making such puzzles, including “Photograph a completed jigsaw puzzle/, similarly, Bernlef’s “Uncle Carl, a home movie” fantasizes on ways of playing the movie so as to negate the fact of his uncle’s death. Later poems explore problems of perception and expression, often referencing the performance of jazz musicians, one of these was eventually made into a tall mural on a Leiden apartment block. Tulle, reed, paper, taffeta, gauze, bombazine, angels exist in poems or in paintings where motionless they are in motion. Bernlef was later to such themes at greater length in his novels. It was widely translated, filmed in 1987 and produced as a play in 2006, translated in English as “Out of Mind”, it gives a realistic depiction of the mind’s descent into dementia from the point of view of the sufferer. Eclips captures the process as the victim of an accident whose mind has been incapacitated slowly returns to normality
J. Bernlef
–
Bernlef in 2008
22.
Readymade
–
Pablo Picasso first publicly utilized the idea when he pasted a printed image of chair caning onto his painting titled Still Life with Chair Caning. The most famous example is Fountain, a standard urinal purchased from a store and displayed on a pedestal. Found objects derive their identity as art from the designation placed upon them by the artist and this may be indicated by either its anonymous wear and tear or by its recognizability as a consumer icon. The context into which it is placed is also a relevant factor. The idea of dignifying commonplace objects in this way was originally a challenge to the accepted distinction between what was considered art as opposed to not art. In this sense the artist gives the time and a stage to contemplate an object. Appreciation of found objects in this way can prompt philosophical reflection in the observer, there is usually some degree of modification of the found object, although not always to the extent that it cannot be recognized, as is the case with ready-mades. Marcel Duchamp coined the term ready-made in 1915 to describe an object that had been selected. Duchamp assembled Bicycle Wheel in 1913 by attaching a common front wheel and this was not long after his Nude Descending a Staircase was attracting the attention of critics at the International Exhibition of Modern Art. In 1917, Fountain, a urinal signed with the pseudonym R. Mutt, in the same year, Duchamp indicated in a letter to his sister, Suzanne Duchamp, that a female friend was centrally involved in the conception of this work. As he writes, One of my friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture. Irene Gammel argues that the piece is more in line with the aesthetics of Duchamps friend. Research by Rhonda Roland Shearer indicates that Duchamp may have fabricated his found objects, exhaustive research of mundane items like snow shovels and bottle racks in use at the time failed to reveal identical matches. The urinal, upon inspection, is non-functional. However, there are accounts of Walter Arensberg and Joseph Stella being with Duchamp when he purchased the original Fountain at J. L. Mott Iron Works. The use of objects was quickly taken up by the Dada movement, being used by Man Ray. A well-known work by Man Ray is Gift, which is an iron with nails sticking out from its flat underside, jose De Creeft began making large-scale assemblages in Paris, such as Picador, made of scrap metal, rubber and other materials. The combination of found objects is a type of ready-made sometimes known as an assemblage
Readymade
–
Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz
Readymade
–
Junk art at
Oak Street Beach
Readymade
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An Oak Tree by
Michael Craig-Martin; 1973
23.
Hans Verhagen
–
Hans Verhagen is a Dutch journalist, poet, painter and filmmaker. He was born in Vlissingen on 3 March 1939, hooft Award in 2009 for his humour, his engagement, his poetic daring and whimsy. Verhagen began writing poetry at the start of the 1960s at the time as he was experimenting with drugs. He recalls in an interview that I learned from those LSD experiences. There is an enormous intensification, everything that has been said and done seems to come together in one place, after centuries the 1st poem on the radio. Tongue in cheek, he later characterised such New Realist writing as full of misplaced symbolism and defective imagery, with the appearance of Duizenden zonsondergangen Verhagen shifted into the sentimental mode of the Dutch renewal of Neo Romanticism. From the eighties onwards he confined himself to painting and did not return to poetry until the new millennium
Hans Verhagen
–
Verhagen in 2008
24.
Armando (artist)
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For the online writer/blogger, see Daily Kos. Herman Dirk van Dodeweerd, known as Armando, is a Dutch painter, sculptor and writer. Armando was born in Amsterdam, and as child moved to Amersfoort, there he saw, during the German occupation of the Netherlands, how the Nazis set up a transition camp for prisoners who were to be sent to concentration camps. The suffering of the victims and the cruelty of the Nazi camp guards, so near his home, after the liberation, he studied art history at the University of Amsterdam. His first solo exhibition was at the Galerie Le Canard, Amsterdam, at this time he also started to write poetry. He was influenced by the CoBrA art group, and made abstract drawings—with his left hand and he was also influenced by Dubuffet and Jean Fautrier, producing thickly impastoed paintings. In 1958 he was one of the founder-members of the Nederlandse Informele Groep, with the painters Kees van Bohemen, Jan Henderikse, Henk Peeters, Jan Schoonhoven, by 1959 he had joined the Situationist International and attended their Third conference, held in Munich 17–20 April 1959. With Anton Alberts, Constant and Har Oudejans he wrote First proclamation of the Dutch Section of the SI, however, he was expelled from the SI in the Spring of 1960, though continuing to contribute to other Situationist publications like the Situationist Times. He has also contributed to Podium, Gard Sivik, De Nieuwe Stijl and he lived partly in Amsterdam, partly in Amersfoort, and until 1989 also in Berlin. Amersfoort, the place of his childhood, hosted a museum devoted to his work, on 22 October 2007 a large fire struck the museum and burned thirteen Armando paintings. At the time of the fire there was also an exhibition with works of painters like Ruisdael, Dürer, Seghers and Kiefer, a final balance of the damage by the fire was made on Tuesday 20 November 2007. According to a Dutch newsarticle,63 paintings were lost,8 were recovered,6 of the recovered paintings are badly damaged, two are lightly damaged. Since 2014 the Armando Collection found a new home in the Museum Oud Amelisweert near Bunnik, the MOA regularly organizes exhibitions with works of Armando, sometimes in relation with works of other artists. 1984 - The Ferdinand Bordewijk Prize for his essay Machthebbers, verslagen uit Berlijn en Toscane,1984 - The Multatuli prize for his essay Machthebbers, verslagen uit Berlijn en Toscane. 1985 - The 1st Jacobus van Looy prize,1987 - The Gouden Ganzenveer voor his contribution to the Dutch culture and the distribution throughout Europa. 1989 - The Multatuli prize for his essay De straat en het struikgewas
Armando (artist)
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Armando in 2012
Armando (artist)
–
Sculpture Feldzug (1989) by Armando at the entrance of Cemetery Rusthof in
Leusden,
Netherlands
25.
Zero (art)
–
Zero is a group of artists founded by Heinz Mack and Otto Piene and the name of their magazine. The word “zero” expressed, in Piene’s words, “a zone of silence and of pure possibilities for a new beginning. ”The movement is interpreted as reaction to Abstract Expressionism by arguing that art should be void of color, emotion. Zero was the name of a magazine founded in 1957 by Heinz Mack that ceased publication in 1967, manifestos were often published in association with the shows, such as Zero 1, Zero 2, and Zero 3. Like-minded practitioners came above all from France, Italy, Spain, latin American artists, like the Venezuelan Jesús Rafael Soto, the Argentine Luis Tomasello, and Brazilian Almir Mavignier became affiliated with Zero while working in Paris in the 1950s. Many of the Zero artists are known for their affiliations with other movements, including Nouveau réalisme, Arte Povera, Minimalism, Op Art. In 2008, Piene, Mack, Uecker, and Mattijs Visser created the international ZERO foundation, in 1961, Düsseldorf-based Galerie Schmela mounted ZERO. The movements first group exhibitions in the United States were shown at Howard Wise Gallery, New York, artists of a European Movement, a 2006 exhibition at the Museum der Moderne Salzburg presented 120 works by 50 Zero artists. The works were loaned by the German collectors Gerhard and Anna Lenz, Gerhard Lenz had first encountered the Zero group at an exhibition of Piene’s work in a Düsseldorf bookshop more in 1963. From 1974, the couple exhibited the collection in 12 shows over 25 years, including in Frankfurt, Barcelona, Moscow, and Warsaw. In October 2014 the Solomon R. Guggenheim Museum showcased the work in “ZERO, Countdown to Tomorrow, 1950s-60s”. This was the first large-scale historical survey of the work in United States. From 2 September 2015 to 10 January 2016 ZERO, Countdown to the Future was on display in Sakıp Sabancı Museum in Istanbul, interest in Zero artists has seen an extraordinary resurgence in recent years, with works from European painters of the period achieving records at auction. In 2010, Sothebys auctioned off parts the collection of Gerhard, the sale set 19 world auction records for Zero artists. Moeller Fine Art, New York, represents the estate of Howard Wise, also, Sperone Westwater Gallery has been showing Zero artists for years and presented an all-Zero show in 2009. Renate Buschmann, Stephan von Wiese, Fotos schreiben Kunstgeschichte, propyläen, Frankfurt am Main / Berlin 1991. ISBN 978-3-549-06694-2 Anna Lenz, The Zero Era, the Lenz Schönberg Collection, Living in Art. ISBN 978-3-7757-2411-1 museum kunst palast, ZERO – Internationale Künstler-Avantgarde der 50er/60er Jahre, with texts by Bazon Brock, Tiziana Caianiello, Heinz-Norbert Jocks, Catherine Millet, Lóránd Hegyi, Valerie L. Hillings, Heike van den Valentyn, Atsuo Yamamoto, Mattijs Visser. ISBN 978-3-7757-1747-2 Otto Piene, “The Development the Group “ZERO””, London, The Times Literary Supplement, Otto Piene and Heinz Mack, Zero
Zero (art)
–
Günther Uecker Foto:
Lothar Wolleh
Zero (art)
–
Heinz Mack Foto:
Lothar Wolleh
Zero (art)
–
Otto Piene Foto:
Lothar Wolleh
26.
Concrete Poetry
–
Concrete, pattern, or shape poetry is an arrangement of linguistic elements in which the typographical effect is more important in conveying meaning than verbal significance. It is sometimes referred to as visual poetry, a term that has now developed a meaning of its own. As such, concrete poetry relates more to the visual than to the verbal arts, historically, however, concrete poetry has developed from a long tradition of shaped poems in which the words are arranged in such a way as to depict their subject. Though the term ‘concrete poetry’ is modern, the idea of using letter arrangements to enhance the meaning of a poem is old. Such shaped poetry was popular in Greek Alexandria during the 3rd and 2nd centuries BCE, examples include poems by Simmias of Rhodes in the shape of an egg, wings and a hatchet, as well as Theocritus’ pan-pipes. The post-Classical revival of shaped poetry seems to begin with the Gerechtigkeitsspirale, the text is carved in the form of a spiral on the front of one of the church pews and is one of several decorative designs there created in 1510 by master carpenter Erhart Falckener. Early religious examples of shaped poems in English include Easter Wings and The Altar in George Herbert’s The Temple, the technique is now used by both religious and secular artists and is similar to the use of Arabic texts in Islamic calligraphy. European secular examples include poems in the shape of wine flagons by Rabelais and Charles-François Panard, thus the significance of the sound poetry in Marinetti’s Zang Tumb Tumb is expressed through pictorial means. Similarly in Germany Raoul Hausmann claimed that the style of his Phonemes allowed the reader to recognise what sound was intended. In Russia the Futurist poet Vasily Kamensky went so far as to term the typography of his Tango with Cows, published in 1914, ferro-concrete poems, a further move away from overt meaning occurred where ‘poems’ were simplified to a simple arrangement of the letters of the alphabet. Their work was termed concrete poetry after they exhibited along with the artists in the National Exhibition of Concrete Art. The poets included Augusto de Campos, Haroldo de Campos and Décio Pignatari, in 1958 a Brazilian concrete poetry manifesto was published and an anthology in 1962. The difficulty in defining such a style is admitted by Houédard’s statement that a concrete poem is ambiguously both typographic-poetry and poetic-typography. Henri Chopin’s work was related to his treatment of the word. The Italian Maurizio Nannuccis Dattilogrammmi experiments were also transitional, preluding his move into light art, bob Cobbing, who was also a sound poet, had been experimenting with typewriter and duplicator since 1942. Houédard’s entirely different work was produced principally on the typewriter but approximates more to painterly. So too does that of the American Minimalist artist Carl André, beginning from about 1958, and in Italy Adriano Spatola developed the artistic fragmentation of language using various visual techniques in his Zeroglifico. Edwin Morgan’s experiments with concrete poetry covered several aspects of it
Concrete Poetry
–
George Herbert 's "
Easter Wings", printed in 1633 on two facing pages (one stanza per page), sideways, so that the lines would call to mind birds flying up with outstretched wings.
Concrete Poetry
–
Gerechtigkeitsspirale
Concrete Poetry
–
"How well her name an Army doth present, In whom the Lord of hosts did pitch his tent!". "Anagram" from the 1633 edition of
George Herbert 's The Temple.
27.
Wiener Gruppe
–
Wiener Gruppe was a small and loose avant-garde constellation of Austrian poets and writers, which arose from an older and wider postwar association of artists called Art-Club. The group was formed around 1953 under the influence of H. C, Artmann in Vienna and existed for about a decade. Besides Artmann are Friedrich Achleitner, Konrad Bayer, Gerhard Rühm and this group showed interest in the Baroque literature, as well as in Expressionism, Dadaism and Surrealism. Important impulses also came from upholders of linguistic scepticism, linguistic criticism and linguistic philosophy, such as Hugo von Hofmannsthal, the linguistic awareness of the Wiener Gruppe was also displayed in the members notion of language as optic and acoustic material. Already in the early 1950s concrete poetry became a new element of at least the works of Rühm. Readings and recordings became important parts of the activity, with the charm of novelty, several members also made use of the richness of sounds and vocabulary of their own Bavarian and Vienna dialect. Furthermore, the group was trying out text montage, Gerhard Rühm, Die Wiener Gruppe, Achleitner, Artmann, Bayer, Rühm, Wiener ISBN 978-3-498-07300-8. A moment of modernity 1954-1960 / the visual works and actions, biennale di Venezia F. Achleitner and P. Weibel, Wiener Gruppe F. Achleitner and W. Fetz, Wiener Gruppe. Michael Backes, Experimentelle Semiotik in Literaturavantgarden, Über die Wiener Gruppe mit Bezug auf die Konkrete Poesie ISBN 3-7705-3450-6. Thomas Eder, Juliane Vogel, „verschiedene sätze treten auf“, Die Wiener Gruppe in Aktion Profile. Magazin des Österreichischen Literaturarchivs der Österreichischen Nationalbibliothek, Bd.15, ISBN 978-3-552-05444-8 Klaus Kastberger, Vienna 1950/60
Wiener Gruppe
–
H. C. Artmann
28.
Raoul Hausmann
–
Raoul Hausmann was an Austrian artist and writer. Raoul Hausmann was born in Vienna but moved to Berlin with his parents at the age of 14 and his earliest art training was from his father, a professional conservator and painter. He met Johannes Baader, an architect and another future member of Dada. At around the time he met Elfride Schaeffer, a violinist, whom he married in 1908. That same year Hausmann enrolled at a private Art School in Berlin, Hausmann met Hannah Höch in 1915, and embarked upon an extramarital affair that produced an artistically productive but turbulent bond that would last until 1922. The notion of destruction as an act of creation was the point of departure for Hausmanns Dadasophy, Huelsenbeck delivered his First Dada Speech in Germany, January 22,1918 at the fashionable art dealer IB Neumanns gallery, Kurfurstendamm Berlin. Over the course of the few weeks, Hausmann, Huelsenbeck, George Grosz, John Heartfield, Jung, Höch, Walter Mehring. One envisioned Corinths pictures torn to shreds with chair legs, but in the end it didnt come to that. As Raoul Hausmann shouted his programmatic plans for dadaist painting into the noise of the crowd, the call for new materials in painting bore fruit later the same year when Hausmann and Höch holidayed on the Baltic Sea. The guest room they were staying in had a portrait of soldiers. It was like a thunderbolt, one could – I saw it instantaneously – make pictures, back in Berlin that september, I began to realize this new vision, and I made use of photographs from the press and the cinema. It should also be pointed out that Grosz, Heartfield and Baader all laid claim to having invented the technique in later memoirs, although no works have surfaced to justify these claims. Later poems used words which were reversed, chopped up and strung out, then typed out using a full range of typographical strategies. Schwitters Ursonate was directly influenced by a performance of one of Hausmanns poems, fmsbwtazdu, after Hausmann contributed to the first group show, held at Isaac Neumanns Gallery, April 1919, the first edition of Der Dada appeared in June 1919. Edited by Hausmann and Baader, after receiving permission from Tristan Tzara in Zurich to use the name, the periodical contained drawings, polemics, poems and satires, all typeset in a multiplicity of opposing fonts and signs. The most famous work by Hausmann, Mechanischer Kopf, The Mechanical Head,1920, is the only surviving assemblage that Hausmann produced around 1919–20. Der Geist Unserer Zeit – Mechanischer Kopf specifically evokes the philosopher George Wilhelm Friedrich Hegel, among Hegels disciples and critics was Karl Marx. Hausmanns sculpture might be seen as an aggressively Marxist reversal of Hegel, however, there are deeper targets in western culture that give this modern masterpiece its force
Raoul Hausmann
–
Raoul Hausmann, taken by Hannah Höch, 1919
Raoul Hausmann
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ABCD (Self-portrait) A photomontage from 1923–24
Raoul Hausmann
–
The phoneme kp' erioUM 1919
Raoul Hausmann
–
Cover of der Dada vol1, including a poem, "Dadadegie", by Baader and Hausmann 1919
29.
H.N. Werkman
–
Hendrik Nicolaas Werkman was an experimental Dutch artist, typographer and printer. He set up a printing house during the Nazi occupation and was shot by the Gestapo in the closing days of the war. Werkman was born in Leens, in the province of Groningen and he was the son of a veterinary surgeon who died while he was young, after which his mother moved the family to the city of Groningen. In 1908, he established a printing and publishing house there that at its peak employed some twenty workers, financial setbacks forced its closure in 1923, after which Werkman started anew with a small workshop in the attic of a warehouse. Werkman was a member of the artists group De Ploeg, for whom he printed posters, invitations and he would distribute the magazine by exchanging it for works by other avant-garde artists and designers abroad and so kept in touch with progressive trends in European art. Among the most fruitful contacts were with Theo van Doesburg, Kurt Schwitters, El Lissitzky and Michel Seuphor, such contact was vital while Werkman was building up his business and could not leave Groningen. The more complex of these required some fifty handlings in and out of the press, another of his experimental techniques was the painstaking production of abstract designs using the typewriter, which he called tiksels. After 1929 he also began writing rhythmic sound poems, included there were a series of Hassidic stories from the legend of the Baal Shem Tov. On 13 March 1945, the Gestapo arrested Werkman, executing him by firing squad along with nine prisoners in the forest near Bakkeveen on 10 April. Many of his paintings and prints, which the Gestapo had confiscated, were lost in the fire broke out during the battle over the city. Werkman is buried in the Bakkeveen cemetery, there is now a monument commemorating the ten who were shot then, and another to him at the village where he was born. In 1992 the Dutch director Gerrard Verhage filmed an hour-long dramatized documentary about Werkmans last days, Ik ga naar Tahiti. Immediately after the war he put on a retrospective at the Stedelijk Museum and laid the foundation for its collection of Werkmans work. ”In 1983 Werkman’s former warehouse premises were converted into workshops. In the city museums graphic department there is a workshop displaying his printing equipment, one of the main municipal secondary schools in the city was later named the H. N. Werkman College after him and keeps his heritage alive in its art classes and recurring special projects. Jan Martinet, Werkman’s Call, a devoted to Hendrik Werkman
H.N. Werkman
–
H.N. Werkman
H.N. Werkman
–
Monument for the 10 executed by the Gestapo.
30.
Stedelijk Museum
–
The Stedelijk Museum Amsterdam, colloquially known as the Stedelijk, is a museum for modern art, contemporary art, and design located in Amsterdam, Netherlands. The 19th century building was designed by Adriaan Willem Weissman and the 21st century wing with the current entrance was designed by Benthem Crouwel Architects. It is located at the Museum Square in the borough Amsterdam South, where it is close to the Van Gogh Museum, the Rijksmuseum, the collection comprises modern and contemporary art and design from the early 20th century up to the 21st century. In 2015, the museum had an estimated 675,000 visitors, the Stedelijk Museum, Amsterdam, opened on 14 September 1895 as an initiative of the local authority and private individuals. The Dutch Neo-Renaissance style museum building was designed by Dutch architect Adriaan Willem Weissman as part of a project spearheaded by local citizens starting in 1850. The construction of the building was funded in 1890 by Sophia Adriana de Bruyn. The Van Eeghen family also contributed to the costs and donated paintings from the collection of Christiaan Pieter van Eeghen. The building was constructed between 1891 and 1895 at Paulus Potterstraat, a walking distance from the Rijksmuseum. The museums original collection included militaria of the Amsterdam militia, Asiatic art, and artifacts from the Museum of Chronometry, in 1905, Cornelis Baard was appointed curator of the Stedelijk and promoted to museum director in 1920. During his time as curator, the local authority began building its own collection of modern art, the Great Depression in the Netherlands led to municipal cutbacks and an increased need for policy reviews in the first half of the 1930s. In 1932, a committee was established with two members from the VVHK and two from the local authority. These four figures oversaw all art purchases for the museum, notably works of Hague and Amsterdam Impressionism, the museum began actively acquiring art in 1930. Nijkerks collection of books came to the Stedelijk, which was expanded to include aesthetic book design. The Museum of Applied Art opened on the floor of the west wing on 15 December 1934. In 1936, David Röell, who had worked at the Rijksmuseum and was secretary of the VVHK. Röell appointed Willem Sandberg as the new curator in January 1938, Sandberg eventually took over as director of the museum in 1945. By 1962, the VVHK handed over most of its collection, including works by George Hendrik Breitner, Paul Cézanne, Jean-Baptiste-Camille Corot, Gustave Courbet, Vincent van Gogh, and Johan Jongkind. Under the direction of Sandberg, the Stedelijk started a department of applied art in 1945, at the start of 1950, the Stedelijk also began to present modern music and films
Stedelijk Museum
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The entrance side of the museum in 2012
Stedelijk Museum
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The old building of the Stedelijk Museum was opened in 1895
Stedelijk Museum
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Temporary location of the Stedelijk Museum in the building Post CS
Stedelijk Museum
–
Still life with bottles and apples by
Paul Cézanne was stolen in 1988
31.
Abstract expressionism
–
Abstract Expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the art world. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky, technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollocks dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. His long essay Totem Art had considerable influence on artists as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko. Around 1944 Barnett Newman tried to explain Americas newest art movement, paalen is mentioned twice, other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark, additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of working in New York who had quite different styles. Yet all four artists are classified as abstract expressionists, Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Why this style gained mainstream acceptance in the 1950s is a matter of debate, American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression, but also by the muralists of Mexico such as David Alfaro Siqueiros, the political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York such as The Art of This Century Gallery. The McCarthy era after World War II was a time of censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical. Or if the art was political, the message was largely for the insiders, many of the sculptors listed participated in the Ninth Street Show, a famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Although the abstract expressionist school spread throughout the United States, the major centers of this style were New York City. At a certain moment the canvas began to appear to one American painter after another as an arena in which to act, what was to go on the canvas was not a picture but an event. In the 1940s there were not only few galleries but also few critics who were willing to follow the work of the New York Vanguard, there were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman, who functioned as critics as well. Hess, the editor of ARTnews, championed Willem de Kooning
Abstract expressionism
–
Jackson Pollock,
No. 5, 1948, oil on
fiberboard, 244 × 122 cm. (96 × 48 in.), private collection
Abstract expressionism
–
David Smith,
Cubi VI (1963),
Israel Museum,
Jerusalem. David Smith was one of the most influential American sculptors of the 20th century.
Abstract expressionism
–
Mark Tobey, Canticle, 1954. Tobey, like Pollock, was known for his calligraphic style of allover compositions.
Abstract expressionism
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Willem de Kooning, Woman V, 1952–1953. De Kooning's series of Woman paintings in the early 1950s caused a stir in the
New York City avant-garde circle.
