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藝術概論 Week 13, 14, 15 2008/12/8, 12/15, 12/22 Iris Tuan

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藝術概論 Week 13, 14, 15 2008/12/8, 12/15, 12/22 Iris Tuan

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  1. CubismFuturismDadaismSuprematismConstructivism (Russian and International)Neo-Plasticism SurrealismSpatialismAbstract ExpressionismSocial RealismPost-ModernismConceptualismNeo-ConceptualismFashion DesignNeo-ExpressionismMinimalismSensationalismCh. 25 永遠的革新十九世紀Ch. 26 新標準的追求十九世紀晚期Ch. 27 實驗性的藝術二十世紀前半葉Ch. 28 一個沒有結尾的故事現代主義的勝利不同的氣氛變化中的過去 藝術概論 Week 13, 14, 15 2008/12/8, 12/15, 12/22 Iris Tuan

  2. Cubism • 1911年在巴黎的獨立沙龍首度展出 • 代表畫家：畢卡索、布拉克 • 一種概念性的繪畫法利用變動的觀點，將種種面貌描繪在畫布上 • 將三度空間的對象壓扁成各種形狀，在畫布上舖排開來 • 從不同角度描繪事物，也探究他們在時空中的運動

  3. 布拉克，1911，Man with a Guitar

  4. Futurism • 以義大利為中心 • 特色：積極讚揚現代技術、速度與城市生活，猛烈嘲諷西方藝術傳統 • 未來主義者精於宣傳自己的作品，使該運動備受矚目 • 常使用刺眼的顏色 • 起於1920年代一次大戰後逐漸衰微

  5. Dadaism • 出現於一次世界大戰期間 • 『達達』—從字典裡隨機挑選出來的無意義字 • 對藝術採取一種破壞性、無禮和解放的作法 • 兩大要素：「機遇」與「荒謬」重要手法：「震撼」 • 反對嚴謹的藝術理論 • 代表—杜象︰噴泉（以現成物為作品）阿爾普：拼貼作品

  6. 杜象，噴泉

  7. Suprematism • 俄國藝術家馬勒維奇領導具有幾何學的特性、且常為無色 • 相信精神本體可以透過幾何抽象來表現 • 否定藝術的傳統定義 • 拒將純藝術視為工業或政治的附庸品 • 影響1920-1930年代的西方藝術與設計

  8. Constructivism(Russian and International) • 1917年俄國共產黨政變後產生的運動 • 以獨立部件和塑膠等當代素材，構造或組織而成的抽象、幾何式藝術作品 • 反對「創作(composition)」一詞，而改以「構成(construction)」替代希望打破藝術與工業間的藩籬 • 主要雕塑家：塔特林 • 促成國際主義發展 • 烏托邦特質

  9. Kasimir Malevich, Suprematist Composition, c. 1916

  10. Model for the 3rd International Tower, 1919-1920

  11. Neo-Plasticism • 代表：蒙德里安 • 企圖以獨特的棋盤行畫作，揭露世界變動表象之下永恆的精神 • 水平與垂直的黑色線條 • 鼓吹沒有中心的繪畫，畫作中沒有明顯的著眼點 • 影響「風格派」、抽象表現主義等建築師、設計師與藝術家

  12. 蒙德里安

  13. Surrealism • 延續達達主義對藝術中的非理性、顛覆性要素的探究 • 關注精神性、佛洛伊德心理分析和馬克思主義 • 「無意識」的藝術，不經由理性、道德或美感判斷 • 貶抑真理和陳規，視其為毫無創意 • 探究夢的意象，既怪異又真實

  14. 〈新娘禮服〉，1940年，恩思特

  15. 達利：記憶的永恒Persistence of Memory 1931

  16. Spatialism • 代表︰方塔納 • 利用藝術創造新的物質環境 • 主張二戰後應該屬於當代的新藝術將新科技（聲光、時間、運動等）運用在作品中，創作涵蓋整個展覽空間 • 劃破布表面—使創作過程凌駕成品，遠離藝術傳統

  17. FONTANA, LUCIO (1899-1968) Concepto espacial, 1959

  18. An exhibition of twenty four works: oils, drawings and mixed media on canvas, ceramics and terracotta (1934-1952).

  19. Abstract Expressionism • 又名『紐約畫派』(New York school) • 在無意識中找尋具有普遍意義的符號 • 意圖描繪普遍情感 • 受榮格影響 • 專注於繪畫的肢體過程→『行動繪畫』顛覆傳統作畫的表現動作 • 『色面繪畫』

  20. 波洛克

  21. Post-Modernism • By the 1980s, visual art which criticized society was also being referred to as ‘post-modern’ • Eclecticism; anti-corporate • Post-modern architects felt that International style had become a repressive orthodoxy Vest with Aqualung, 1985, JEFF KOONS

  22. Post-Modernism • Post-Modernist architecture uses more eclectic materials and styles with greater playfulness • The ethical touchstone of post-modernism is relativism – the belief that no society or culture is more important than any other Interior with Waterlilies, 1991, ROY LICHTENSTEIN

  23. Post-Modernism • Post-modernism also explores power and the way economic and social forces exert that power by shaping the identities of individuals and entire cultures Five Open Geometric Structures, 1979, SOL LEWITT

  24. Post-Modernism • They value art not for its universality and timelessness but for being imperfect, low-brow, accessible, disposable, local and temporary You are driving a Volvo, 1996, JULIAN OPIE Brillo, 1964, ANDY WARHOL

  25. Post-Modernism • Koons takes mass produced objects from everyday life and exhibits them in art galleries Three Ball Total Equilibrium Tank (Two Dr J Silver Series, Spalding NBA Tip-Off), 1985, JEFF KOONS

  26. Post-Modernism • The loss of an original and its displacement copies is a central preoccupation of the Post-Modern art of which Pop was a forerunner • Warhol’s diptych was produced in the months following Monroe’s suicide • It’s an exploration of the way individuals, after death, can achieve ‘immortality’ through endlessly replicated images in magazines and advertising Marilyn Diptych, 1962, ANDY WARHOL

  27. Untitled (We Will No Longer Be Seen and Not Heard), 1985, BARBARA KRUGER

  28. Conceptualism • Emerged in the 1960s • Promoted as an ism by Sol LeWitt in 1967 • Its central claim is that art is a ‘concept’, rather than a material object • There are strong precedents for Conceptualism in the work of the Dadaist artist Marcel Duchamp Eleven Color Photographs, 1966-7, 1970, BRUCE NAUMAN

  29. Conceptualism • Four basic tenets: • (1)An idea, or concept, rather than a material object • (2)Conceptualists deliberately blur the distinction between language and art • (2)The artist’s intention and the spectator’s response are an integral part of the art work itself A Wall Divided Vertically into Fifteen Equal Parts, Each with a Different Line Direction and Colour, and All Combinations, 1970, SOL LEWITT

  30. Conceptualism • Four basic tenets: • (3)Conceptualism also criticizes the commercialization of art • (3)hope to disrupt this trade, or at least problematize it The Bride Stripped Bare by Her Bachelors Even (The Green Box), 1934, MARCEL DUCHAMP The Bride Stripped Bare by Her Bachelors Even (The Green Box), 1934, MARCEL DUCHAMP-COVER

  31. Conceptualism • Four basic tenets: • (4)disrupt the process by which ownership translates into social status and cultural authority • (4)However, institutions such as museums and galleries can shape and influence our experience of art through their powers of selection and omission Fountain, 1917, replica 1964, MARCEL DUCHAMP

  32. Conceptualism • The ‘creation’ will change according to how the object is viewed • Validate the work defies the conventional belief that art objects express or explore the artist’s personal experiences • A further challenge to perconceptions forces us to judge the work as a concept not as an object made by LeWitt Two Open Modular Cubes Half Off, 1972, SOL LEWITT

  33. Conceptualism • A clock, a clock and entries from an English/Latin dictionary for the words ‘time’, ‘machine’ and ‘object’ • By placing a real clock beside a photograph of one, Kosuth questions why we consider a photograph but not the object itself to be art • This juxtaposition also challenges the idea that art is beautiful and/or functionless

  34. Clock (one and five), English Latin version (Exhibition Version), 1965, JOSEPH KOSUTH Clock (one and five), English Latin version (Exhibition Version), 1997, JOSEPH KOSUTH

  35. Neo-Conceptualism • Emerged in the 1970s • It criticizes artistic and cultural norms (e.g. originality and gender) • It also explores the relation between capitalism and art and between mass media and individual identity Untitled, 1989, JENNY HOLZER

  36. Neo-Conceptualism • Neo-Conceptualists have explored the ways in which the concepts of authority, originality and creation have been used to say what is and is not art and who is and who is not an artist • Neo-Conceptualism includes work influenced by feminist theory, queer theory and ethnic rights movements, all of which critique the use of cultural values to exclude certain groups from the production and evaluation of art • The widespread use of the female body in art created by and for men

  37. Neo-Conceptualism • The tendency to avoid any overt eroticism in depictions of the white, male body, and the association of ethnic minorities with ‘primitive’ motifs such as bright colors, sensuality, and superstition Untitled, #112, 1982, CINDY SHERMAN

  38. Neo-Conceptualism • Duchamp, ‘the ready-made’ • Poststructuralism has provided Neo-Conceptualists with an intellectual armory with which to challenge the cultural assumptions of art establishments • ‘deconstruction’ Untitled (Public Opinion), 1991, FELIX GONZALEZ-TORRES

  39. Neo-Conceptualism • As those terms will become radically and progressively unstable • Subversive and disturbing • Deconstruction leads to an endless flux of understanding and not to definition or certainty Throbbing Hearts, 1994, ROSS BLECKNER

  40. Neo-Conceptualism • Based on geometry, it claims to be ‘neutral’, ‘pure’ and dissociated from any social context Two Cells with Conduit, 1987, PETER HALLEY

  41. Neo-Conceptualism • Shows the artist disguised as a range of female characters from B-movies of the 1950s and ’60s • Explore stereotypes of women promoted by cinema • She uses odd angles and props to draw attention to the fact that photographs, like all art and stereotypes, are deliberately constructed Untitled Film Still, #15, 1978, CINDY SHERMAN

  42. Fashion Design 時尚設計 • The House of Chanel, more commonly known as Chanel, is a Parisian fashion house in France founded by Gabrielle Bonheur "Coco" Chanel (b.1883 - d.1971).

  43. Fashion Design 時尚設計 • According to Forbes, the privately held House of Chanel is jointly owned by Alain Wertheimer and Gerard Wertheimer who are the grandsons of the early (1924) Chanel partner Pierre Wertheimer.

  44. History • Founded in 1910, the small shop selling ladies headwear had moved to the upmarket Rue Cambon within a year. • The Coco Chanel Era • 1910-1932 • 1935-1981 • The Karl Lagerfeld Era • 1983-2004 • 2005-Present

  45. Chanel No 5- The Film • Recently, Chanel has launched a new advertising film that casts Nicole Kidman as the new face of Chanel No.5. No. 5 The Film cost around $45 million to produce with Nicole Kidman recieving $5 million.

  46. Neo-Expressionism • 1970年代出現 • 特色：強烈、情感豐富的內容，刻意使用未加工的素材 • 反抽象，主張以具象藝術反應藝術家強烈的感受，將藝術和心靈重新連結起來。 • 受榮格、「原生藝術」等影響 • 被批評為「壞畫(Bad Painting) 」

  47. 〈帕西法爾—〉，1973年，基弗

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