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"Stag at Sharkey's"
George Bellows
Raw aggressiveness of two men fighting= window into the life of the city. Viewer in crowd, raw, bloody meat heads. The fighting matters; not the fighters. |
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"Night Windows"
John Sloan |
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Stage with lights and whatnot |
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"Floodlight Flirtation"
Everrett Shinn
The city has made even the body into entertainment. |
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"Sunday Afternoon at Union Square"
John Sloan
People looking at people: desire, mocking. A perspective on class. |
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"Hairdresser's Window"
John Sloan
Dying red hair= change of identity.
City creates anonymity and can even raise class status? (Hair as a symbol of class) |
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"Nude Descending a Staircase, no. 2"
Marcel Duchamp
Cubism- expanding perspective; helping us see all of them at once. Like Muybridge, Duchamp believed technology can expand our vision and help us to see more.
Gender is on a continuum. No strict category of feminimity |
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"Rrose Selavy"
Marcel Duchamp
Gender is on a continuum. No strict category of feminimity |
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"Fountain"
Marcel Duchamp
Questioning views of art in every way. |
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"L.H.O.O.Q."
Marcel Duchamp |
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"Renunciation"
Philip Evergood
We are reverting to primacy. Bomb is a political weapon to show our power to Russia. |
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"Guardians of the Secret"
Jackson Pollock
Abstract expressionism sought to free us from representation to truly be able to EXPRESS.
This painting expresses Jung's concept of the "collective unconscious"; the archetypes that span every culture, adopting their own unique symbols, to explain what humans really need and value. To get to the heart of the "secret," we must sort through these symbols. |
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"Lavender Mist"
Jackson Pollock
Way to connect to higher thoughts, by getting past limits of the physical mind. |
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"No. 61"
Mark Rothko
Rothko would ponder and feel for hours, then paint lickety-split, simply using color to capture those very real feelings. He believed no painter could capture the atrocities of the twentieth century, so he relied on colors instead of forms.
(survivor guilt, being a Jew) |
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"Varga Girl"
Alberto Vargas
Modern fears of being inadaquate; men and women. |
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"Willem de Kooning"
Woman 1
Fear of being consumed by women!! |
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"Bed"
Robert Rauschenberg
New materials. |
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"Whaam!"
Roy Lichtenstein
Reproduced image from a comic book.
What is art? What do we value? |
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"Dick Tracy"
Andy Warhol
Power of the image is more powerful than reality. Ultimately, pop culture becomes our reality. |
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"Two Hundred Campbell's Soup Cans"
Andy Warhol
Everything can be reproduced. Power of the brand, image. You can cross-over to anything once you become a commodity. |
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"F-III"
James Rosenquist
Even war is tangled up in consumerism. When we buy things, it funds the building of things to kill people. "Military industrial complex." ...Do we need to keep waging war to keep the economy going? |
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"Untitled Film Still No. 21"
Cindy Sherman |
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"Untitled Film Still No. 7"
Cindy Sherman |
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| Term that characterizes art, development, and growth between 1900-1960. Not to be confused with MODERNITY in art, which is simply life after the Renaissance. Modernism in all about the city, voyeurism (the art of looking), and PEOPLE. |
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| Term Given by critics, implying that the subject matter is garbage. An important development in modernism of freeing the mind and established perceptions of what one should paint about. Includes but is not limited to: Sloan, Bellows, Shinn, Duchamp |
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| Poet of "The Red Wheelbarrow" who explored the importance of every day objects. There is a real world, and we better go out and look at it from time to time. Reality is the most beautiful poetry. |
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Poem in Fragments by T.S. Eliot, exploring many themes: war time malaise, detachment, death and resurrection, psychology, religion.
The nonsensical nature of the modern world and a new way of understanding poetry.
-It narrates a point of view, not a story
-we shouldn't care about the biographical facts, according to Eliot. |
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| What it is to write poetry. Wit and vibrance. |
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| Author of "The American Negro as Artist." Africanist, believing artists of the Harlem Renaissance needed to look back to Africa for inspiration. A traditionalist AND modernist. |
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| Harlem Renaissance poet, emphasizes past, identity, and rights of wronged American Africans. |
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| "Most versatile black composer" of the "Afro-American Symphony." Reinforces Western Classical music as highest form of art; a conflict of interest that can't be resolved. |
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| Author of passing who epitomized "What is Africa to me?" A Harlem Renaissance novelist, she looked to American themes, not African ones. Racial identity not being able to be understood in terms of black and white. |
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| "Father of the Blues." Brought native music into print. (Memphis Blues, St. Louis Blues) |
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| Coined the term "Rock and Roll" |
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Important precursor to minimalism
4'33" "what we need is silence" |
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| Indian sitarist, influenced Philip Glass, Beatles: both minimalism and rock. |
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| Composer of "In C" (53 short motifs decided on the spot when to play) Believed in the connection of music, shamanism, and magic. |
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Important Minimalist.
"Metamorphoses" makes you think about how you listen to a work. It's about focusing.
"Einstein on the Beach" explores music as a presence. One must rid oneself of the usual methods of listening. |
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Post-Modern Photographer who explores the modern woman and her conglomeration of identities in her "untitled film stills."
In the tradition of post-modern art, it questions the very identity of everything... |
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