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‘Fifties, Other Tendencies

‘Fifties, Other Tendencies. “By the end of the fifties the art world had vastly expanded, ushering in a new influx of university-educated artists who did not appear to have the

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‘Fifties, Other Tendencies

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  1. ‘Fifties, Other Tendencies “By the end of the fifties the art world had vastly expanded, ushering in a new influx of university-educated artists who did not appear to have the ‘moral crisis in relation to what to paint,’ which Barnett Newman described…. University educations, it seems, had actually made them less interested in discussing intellectual, social, and political issues and had instead taught them about careers.” Fineberg 146

  2. Helen Frankenthaler (US, b. 1928), Mountains and Sea, 1952, charcoal and oil on unprimed canvas, 7’2” x 9’9”“Post-Painterly abstraction,” “Color Field Painting” (late “Modernist” painting) http://www.youtube.com/watch?v=PsoaxUcwp3s

  3. Helen Frankenthaler in 1950 on seeing Pollock's paintings, Autumn Rhythm and Lavender Mist: “It was as if I suddenly went to a foreign country and didn't know the language, but had read enough, and had a passionate interest, and was eager to live there. I wanted to live in this land. I had to live there, and master the language." Photograph: Jackson Pollock (far left) with Lee Krasner (far right), Clement Greenberg, unidentified child, and Helen Frankenthaler at the beach near Springs, Long Island. Unidentified photographer, ca. 1952.

  4. Helen Frankenthaler, Magic Carpet, 1964, 96 X 68 inches, acrylic on canvasColor Field Painting

  5. Morris Louis (US, 1912-1962), Tet, 1958, synthetic polymer on canvas, 8 x 13ft. Influence of Frankenthaler (1953 visit) and Clement Greenberg

  6. Jules Olitski (Ukrainian-US, 1922-2007) (right), Draky 1966, and (left) Comprehensive Dream, both are 120 x 92 inches, acrylic on canvas. Greenbergian Formalism – Color Field – Post-Painterly Abstraction

  7. Kenneth Noland (US, 1924-2010) Turnsole, 1961, synthetic polymer paint on unprimed canvas, 7' 10 1/8" x 7' 10 1/8“ “Noland made his first completely individual statement when, as he said, he discovered the center of the canvas.” Visitor in front of Turnsole in 2004

  8. Josef Albers (German-US,1888 -1976) selections from series, Homage to the Square: (top right) Ascending 1953; and (lower right) Atuned, 1958, both are oil on masonite.Émigré Bauhaus master, influential teacher at Black Mountain College (1933-1949) and Yale University (1949-1958) Albers’ 1963 Interaction of Color, a classic pedagogical text http://www.laurentianum.de/ldalbe03.gif

  9. Ellsworth Kelly (US b. 1924), Red Blue Green, 1963, c. 84 x 136 inches, oil on canvas, Museum of Contemporary Art San Diego

  10. Ellsworth Kelly (b. 1923), installation at the Broad museum of contemporary art, Los Angeles, February, 2008.

  11. Grace Hartigan (US, 1922-2008), Summer Street, 1956, oil on canvas

  12. Grace Hartigan, New England October, 1957, oil on canvas 68 x 83 in. Albright-Knox Art Gallery, Buffalo, N.Y.

  13. New York School poet, Frank O’Hara and Grace Hartigan published together in Folder, a independent magazine (New York 1953-1956)

  14. (left, at table) Frank O’Hara, Larry Rivers, Grace Hartigan (and David Smith standing at far left) at the Five Spot, NYC 1957 (right) Larry Rivers, Jack Kerouac, David Amram, Allen Ginsberg, Gregory Corso“New York School”poets and Beat poets

  15. Larry Rivers (US painter, sculptor, printmaker, poet and musician,1923-2002)Portrait of Frank O’Hara,1954, o/c, 97"/ 53” Rivers and O’Hara at work on collaborative lithograph, 1958

  16. Larry Rivers, Double Portrait of Berdie, oil on canvas, 1954

  17. Larry Rivers, The Greatest Homosexual, 1964, oil, collage, pencil and colored pencil on canvas, 80 X 61 in. Hirshhorn, DC

  18. Alice Neel (Pennsylvania US, 1900-1984 active NYC),(right) Joe Gould, oil on canvas, 1933, 39 x 31 in. Tate Modern, London(left) Pregnant Maria, oil on canvas, 1964, 32x47 in., private collection http://www.aliceneel.com/home/

  19. Robert Frank (Swiss-US, b. 1924) Drug Store – Detroit, 1955-56, from The Americans

  20. Robert Frank, Trolley, New Orleans, 1955, from The Americans

  21. Robert Frank, The Parade, Hoboken, New Jersey, 1955, from The Americans

  22. 1959 independent artist film said to define the Beat generation, Pull My Daisy, was directed by Robert Frank and Alfred Leslie, narrated by Jack Kerouac and featured Allen Ginsberg and New York Figurative painters, Larry Rivers and Alice Neel http://www.veoh.com/watch/v6406893MxQs3zEx “I saw the best minds of my generaton destroyed by madness, starving hysterical naked…burned alive in their innocent flannel suits on Madison Avenue…or run down by the drunken taxicabs of Absolute Reality.” from poem “Howl” by Allen Ginsberg, 1955

  23. Clyfford Still (US, 1904-1980), 1951(right) Mark Rothko,1952Taught at the California School of Fine Art (now San Francisco Art Institute) Abstract Expressionist influence on Bay Area painters:David Park, Elmer Bischoff, and Richard Diebenkorn

  24. David Park (US, 1911-1960), (left) Seated Man in a T-Shirt, 1958, SFMoMA(right) Art, Nature & Civilization, 1934, WPA Mural, San Francisco, Hayes Valley (below right) ThreeViolinists and Dancers, 1935-37 WPA Social Realism Bay Area Figurative Expressionism

  25. David Park, Torso (detail, right) 1959, SFMoMa"David was keen about Abstract Expressionism as long as it had the immediacy and tangibility and goopy sensuous arrangement of forms, but when it got into the very serious 'views of the cosmos' he didn't go along with that." (Elmer Bischoff)

  26. Richard Diebenkorn, (Born Portland, Oregon, active Bay Area, 1922-1993), Coffee, 1958, oil on canvas. Bay Area Figuration

  27. Compare: (left) Edward Hopper, Morning Sun, oil on canvas, 1952(right) Richard Diebenkorn, Woman in Profile, oil on canvas, 1958

  28. Richard Diebenkorn, Cityscape I, (Landscape No. 1), 1963, oil on canvas, 6o × 5o in, San Francisco Museum of Modern Art

  29. Richard Diebenkorn, Ocean Park No. 54, 1972, oil on canvas, SFMOMA

  30. Elmer Bischoff (US, 1916 -1991),Two Figures on the Seashore, 1957, o/c(right) Orange Sweater, 1955. Bay Area Figuration

  31. Cover of the influential anthology of writings by Dada artists and writers edited by Abstract Expressionist painter, Robert Motherwell, 1951NEO-DADA (In 1951 “painter” was a synonym for “artist.”)

  32. (left) Italian Futurist music event, 1913, The music of chance and “noise,” including the sounds of urban life; (center) Hugo Ball performing Dada poem at the Cabaret Voltaire in Zurich, Switzerland, 1916 Historical sources for Neo-Dada of the 1950s New York Dada In Advance of a Broken Arm by Marcel Duchamp, 1915 Jean Arp, Collage Arranged According to the Laws of Chance, 1916. Dada

  33. John Cage (US, 1912-1992) early 1950s, prepared piano, aleatory (chance) music, Zen Buddhism and the I Ching (Book of Changes)"In the nature of the use of chance operations is the belief that all answers answer all questions.“ Don’t try to change the world, you’ll only make it worse. -Cage

  34. Allan Kaprow (US, 1927-2006), 18 Happenings in 6 Parts, Reuben Gallery, NYC, 1959 Art News, October 1958, published Allan Kaprow’s article, "The Legacy of Jackson Pollock,” which was an analysis of Pollock's work and a meditation on the meaning of Pollock’s death (1956) for the painting avant-garde.

  35. LACE (Los Angeles Contemporary Exhibitions) and artist Steve Roden reinvented 18 Happenings in 6 Parts (1959/2008) over five nights from April 22 through April 26, 2008.

  36. Allan Kaprow, Yard, Martha Jackson Gallery, NYC 1961; compare (right) Pollock painting, 1950 From “Action Painting” to performance art. Young artists of today need no longer say, "I am a painter" or "a poet" or "a dancer." They are simply "artists." All of life will be open to them. - Allan Kaprow, “The Legacy of Jackson Pollock,” 1958 (Artnews)

  37. Allan Kaprow, photograph from Household, a Happening commissioned by Cornell University, 1964. Open link below for 2008 re-enactment s of Happenings for the MoCA Los Angeles Allan Kaprow retrospective http://www.moca.org/kaprow/index.php/category/household/

  38. Jiro Yoshihara (Japan 1905-1972), Painting, 1960 founded Gutai (Gutai Bijutsu Kyokai - Concrete Art Association) in Osaka in 1954 When Jiro Yoshihara died in 1972 the Gutai Art Association was dissolved.

  39. Shozo Shimamoto (Japan 1928), (left) Ana (Holes), 1954, oil on layers of pasted newspapers, pierced, 46 x 36”, Tate London. Gutai movement(right) Painting, 1955, oil on paper, slashed and punctured

  40. Atsuko Tanaka (Japan,1932-2005), Electric Dress [as performance (left) and display as object (right)] 1956, Gutai http://www.youtube.com/watch?v=JdXcZq16yFcBlinking incandescent lights covered with red, blue, yellow, and green enamel paint. Flashing on a circuit, the shapes and colors of the figure wearing the costume changed constantly, giving the impression of a body in constant motion even when standing still. “I was seated on a bench at the Osaka station, and I saw a billboard featuring a pharmaceutical advertisement, brightly illuminated by neon lights. This was it! I would make a neon dress!” - Tanaka The “dress” also references the traditional kimono and the nervous system of the body

  41. Atsuko TanakaElectric Dress performance photos, 1956, GutaiPresages the extreme and sometimes dangerous performances of the 1970s feminist movement.

  42. Saburo Murakami, Gutai perfomance: Smashing Through (21 panels of 42 papers) second Gutai exhibition, Tokyo, 1956 Internationally, performance art of the post-WW II era came out of painting.

  43. Kazuo Shiraga (Japan b. 1925), Challenge to the Mud, Gutai performance, 1955 Art as a marriage of concept and raw material: the Gutai notion of allowing the “cry of the material”

  44. Shiraga, Second Gutai exhibition,1956, “action” painting (verb) with feet; (center below) Painting (object) (right) Gutai exhibition of Shiraga’s paintings (objects) made with feet

  45. http://www.artinfo.com/news/story/871451/video-takesada-matsutani-continuing-the-gutai-spirit VIDEO: Takesada Matsutani, Continuing the Gutai Spirit

  46. Marcel Duchamp (center) with Carolyn Brown and Merce Cunningham after a performance of Walk Around Time. Sound by John Cage, set (after Duchamp’s Large Glass) by Jasper Johns. Mid-1960s Neo-Dada Rrose Sélavy by Man Ray, 1920

  47. Marcel Duchamp,The Large Glass or The Bride Stripped Bare by her Bachelors, Even, 1915-23 (below) photo of Duchamp by British Pop artist, Richard Hamilton, c.1968

  48. Robert Rauschenberg (US, 1925 - 2008), seated on Untitled (Elemental Sculpture) with White Painting (seven panel) behind him in the basement of Stable Gallery, New York (1953). Paintings were used for the famous Black Mountain “Event” of 1952 by John Cage, who acknowledged that the White Paintings enabled him to compose in August 1952 his iconic 4'33‘‘, during which the pianist sits at the piano but does not play. Neo-Dada John Cage’s statement for the 1953 Stable show: White Paintings: "... No subject/ No Image/No taste/No object/No beauty/No message/ No talent/No technique.../No idea...“

  49. Fred McDarrah (US, b. 1926), Dillon's Bar, University Place: Frank O'Hara, Robert Rauschenberg, Merce Cunningham, John Cage, Jasper Johns, and Anna Moreska, at Dillon's Bar, NYC, Nov. 10,1959. Johns and Rauschenberg were intimate between 1954-1962, when their most historically significant work was produced.(right, L-R) Robert Rauschenberg, Merce Cunningham, and John Cage on tour with the Merce Cunningham dance company

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