Archive for the ‘Modern Art Podcasts’ Category
New Voices in Painting
Although the sixties is usually thought of as the decade of Civil Rights, the final expression of equality was the Women’s Movement of the seventies. The art world, which had attempted to ignore the prevailing political events was suddenly confronted with a large and unhappy constituency, artists who had been excluded from the art world on the basis of gender and color. Feminist art and art by women and the art of people of color challenged the exclusionary territory of painting, which had been an “all boys’ club” for decades. The result of the influx of new ideas and new points of view would be more open field for new possibilities in painting.
Tags: " Feminism, "Quality, Adrian Piper, Agnes Martin, Claude Lévi-Strauss, David Salle, Discrimination in the Art World, Eric Fischl, Eurocentricism, Faith Ringgold, Glen Ligon, Ida Appleboorg, Jacques Derrida, Jean-Michel Basquiat, Jenny Saville, Joan Semmel, Joyce Kozloff, Julian Schnabel, Leon Golub, Philip Taffe, Theodor Adorno
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Painting in the Seventies
The 1970s presided over the widely publicized “end of painting.” What the phrase really means is the Modernist painting came to an end. One one hand, the object itself disappeared, swallowed up into Conceptual Art. On the other hand, a movement in painting, still marginalized, Photo-Realism revived painting in all its technical glory and added a touch of the taboo—photography. Following the ideas of Marcel Duchamp, Conceptual Art can be seen as either the ultimate expression of the purity of Modernism or the extinction of the “objecthood,” but it is important to understand that Photo-Realism is an early expression of “conceptual painting.”
Tags: Art After Art Philosophy, Audrey Flack, Clement Greenberg, Conceptual Art, Don Eddy, Impressionism, Janet Fish, John Baldessari, Joseph Kosuth, Marcel Duchamp, Photo Realism, Ralph Goings, Robert Ryman, Taste, Thomas Lawson, use of the photograph in art
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Andy Warhol and “Decorative Art”
Andy Warhol played many roles in the art world of the sixties. Although he produced more films than paintings and sculptures, he re-defined “painting” and “sculpture,” bringing these traditional practices into the modern age. Using serigraphy as a metaphor for commercialism and consumerism, Warhol brought his advertising sensibilities to fine arts. Wooden boxes with purloined logos suggested that the art world was a market place for the high-end consumer. Casting aside hierarchy and judgment, the artist consumed the ubiquitous imagery of his time and put together an encyclopedia for his decade. Acting like a bricoleur, he gathered the pictures of mass media and re-produced and re-presented the already known and the already seen and forced the viewers to examine the overlooked and the banal of the culture.
Tags: " Elinor Ward, "swerve, "The Effect of the Real, American Advertising, Andy Warhol, Arthur Danto, commercial art, found objects, George Dickie, Gustave Courbet, Harold Bloom, Image d'Epinal, Jean Baudrillard, Marcel Duchamp, mechanical processes, Photo Realism, Pop Art, Re-Definition of Art, Roland Barthes, Silkscreening, Simulacra, The Institutional Theory of Art, The Stable Gallery
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Pop Art and Popular Culture
Pop Art was essentially an American phenomenon that included European responses to the imagery of the post-war consumer culture pioneered in New York ad agencies. Like Neo-Dada, Pop Art exposed the limits of Modernism and the prevailing discourse on the aesthetics of painting. These two movements supported mixed media, mass media, hybrid objects and anti-art gestures, employing sources from popular culture, low art and advertising. Perhaps more interesting than the art was the new attitude of the artists—irreverent and business-minded, they thumbed their collective noses at the high-minded, humanist based Abstract Expressionism. But the biggest change wrought by the post Ab Ex movements was the return of representation, upending the dominance of abstract art.
Tags: Andy Warhol, Austerity Britain, Beatles, British Pop Art, Comic Books, Commodity Goods, Consumerism, David Bailey, Edouard Manet, Jean Shrimpton, John Kenneth Galbraith, Jules Olitski, Larry Poons, Lawrence Alloway, Marcel Duchamp, Photo Realism, Pop Art, Post-Painterly Abstraction, Readymades, Return to Representation, Richard Hamilton, Robert Crumb, Robert Williams, Rolling Stones, Roy Lichtenstein, The Affluent Society, Tom Wesslemann, Twiggy
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Neo-Dada and anti-Moderism
It is one of the ironies of art history that at the very moment Abstract Expressionism began to gain traction in the art world, that a major challenger would emerge to steal the spotlight. Neo-Dada, somewhat indebted to Marcel Duchamp, was a non-movement made up of two painters, Robert Raushchenberg and Jasper Johns, and two performance artists, John Cage and Merce Cunningham and their associates. Neo-Dada was an underground art movement of underground artists that managed to gain the support of the Museum of Modern Art and of the cutting edge galleries in New York and Paris.
Tags: " hybrid painting, "things the mind already knows, Abstract Expressionism, Chance, Clement Greenberg, de-skilling, impurity in painting, Indifference, installation art, Jasper Johns, John Cage, Leo Castelli, Marcel Duchamp, mixed media, Neo-Dada, Post-Modernism, Readymades, Robert Rauschenberg, The New York School, The Origin of German Tragic Drama, Walter Benjamin
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Clement Greenberg and Modernist Aesthetics
Clement Greenberg was a rare character in history: the right person in the right place at the right time, writing the right things to the right people. A New York intellectual and art critic, Greenberg was uniquely positioned to be “present at the creation” of The New York School during the 1940s. Greenberg’s art critical writings made the case for the importance of American art in the history of Modernism. Perhaps his most important contribution was to introduce the Modernist aesthetic or definition of art to his American audience. His “formalist” ideas would dominate the New York Art world for decades to come.
Tags: "deductive painting." Frank Stella's Black Paintings, "Modernist Painting, "push-pull, Ad Reinhardt, Alfred Barr, Avant-Garde and Kitsch, Clement Greenberg, Denis Diderot, Emmanuel Kant, Frank Stella, Georg Hegel, Grant Wood, Hans Hofmann, Jackson Pollock, Michael Fried, Norman Rockwell, Thomas Hart Benton, Walter Benjamin
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Modernism in New York City
Why and How did the impetus for Modernist painting move from Paris to New York? This podcast traces the historical and artistic reasons that resulted in New York becoming the center of avant-garde painting the Fifties. The presence of the European exiles in the city, the availability of innovative art in the Museum of Modern Art, and the sense that European modernism was exhausted combined to give rise to a new school of art called The New York School or the Abstract Expressionism.
Tags: Abstract Expressionism, Ad Reinhardt, Adolph Gottlieb, Alfred Barr, André Masson, Arshil Gorky, automatic writing, Barnett Newman, Ben Shahn, Clement Greenberg, Color Field Painting, David Siqueiros, Diego Riviera, Frank Stella, Franz Kline, George Grosz, Gesture Painting, Grant Wood, Hans Hoffman, Harold Rosenberg, Helen Frankenthaler, Jackson Pollock, Jasper Johns, José Clemente Orozco, Juan Miro, Kenneth Noland, Mark Rothko, Matta, Mexican Muralists, Michael Fried, Morris Louis, Regionalism, René Magritte, Robert Motherwell, Robert Rauschenberg, Rosalind Krauss, Salvador Dali, Social Realists, Surrealism, The New York School, Thomas Hart Benton, Willelm de Kooning
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Art Between the Wars
Although art history usually passes over this inter-war period quickly, pausing only for Dada and Surrealism, these decades were significant for the continued development of painting. After decades of avant-garde art, Europeans began to consolidate the innovations and inventions of the new century. While the art scene in Paris returned to conservative market-based art, the experimental mind-set shifted to Berlin, the new capital of art between the wars.
Tags: Adolph Ziegler, Alfred Barr, Alfred Stieglitz, Amedeo Modigliani, Bauahus, Charles Demuth, Charles Sheeler, Christian Schad, Cubism, Dada, De Stijl, George Gross, Georges Braque, Georgia O'Keeffe, Henri Matisse, Italian Fascism, Juan Gris, Léonce Rosenberg, Le Courbusier, Liubov Popova, Museum of Modern Art, Nazi Art, New Objectivity, Otto Dix, Pablo Picasso, Piet Mondrian, Retour à l'ordre, Return to Order, Salvador Dali, School of Paris, Soviet Socialist Realism, Surrealism, Tamara de Lempicka, Theo van Doesberg, Theosophy, Vassily Kandinsky, Weimer Republic, WPA art
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When Art Became Code
If Expressionism was a temperamental predilection, then Cubism became the basis for a new artistic language that would dominate the rest of the century. But during the Great War, a younger generation of artists rebelled against the artistic tradition of the avant-garde. Dada artists positioned themselves as “anti-art,” but, like the Cubist artists, Picasso and Braque, they attempted to re-define art and its mode of communication and production.
Tags: "Cubist Heroes", Abstract Art, Albert Gleizes, Anayltic Cubism, André Salmon, collage, Cubism, Dada, Daniel-Henry Kahnweiler, Francis Picabia, George Grosz, Georges Braque, Georgia O'Keeffe, Guillaume Apollinaire, Hannah Hoch, Hans Arp, Henri Matisse, Jean Metzinger, Kasimer Malevich, Marcel Duchamp, mixed media, Pablo Picasso, papier colle, Paul Cezanne, Raoul Hasssmann, Robert and Sonia Delaunay, Russian Avant-Garde, Salon Cubism, Salon d'automne, Salon des Independants, synthetic cubism, Tristan Tzara, Vasilly Kandinsky
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The Avant-Garde Before the Great War
The decades of the fin-de-siècle period in Europe were fruitful ones, years of innovation and experimentation in painting. “Ism” followed “ism:” Fauvism, Cubism, Futurism, German Expressionism, ended only by the Great War. New independent Salons and the burgeoning artist-dealer system provided new opportunities for cutting edged artists to show their work. Working experimentally, these artists developed a new language for a new art for a new century.
Tags: " Austrian Expressionism, "primitivism", "Tribal Art", African art, Art Nouveau, Cubism, Der Blaue Reiter, Die Brücke, Egon Schiele, Fauvism, Franz Marc, Giacomo Balla, Gino Ser, Guillaume Apollinaire, Gusav Klimt, Gustav Mahler, Henri Rousseau, Italian Futurism, Joseph Olbirch, Kurt Varnedoe, Oskar Kokoschka, Robert and Sonia Delaunay, Sigmund Freud, Theosphy, Vassily Kandinsky
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