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Art History > Unit 4 Part 2 > Flashcards

Unit 4 Part 2 Flashcards

1
Q

The Steerage Identifiers

A

Style: Straight Photography
Artist: Alfred Stieglitz
Location: America
Date: 1907

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2
Q

The Steerage Form

A
  • diagonals and lines acting as framing elements (ladders, sails, steam pipes, etc.)
  • repetition of shapes
  • photographed the world as he saw it
  • cubist-like arrangement of shapes/tonal values
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3
Q

The Steerage: Function

A
  • to show photography as a fine art
  • to show the social divisions of society
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4
Q

The Steerage: Content

A
  • seerage: part of the ship reserved for passengers with the cheapest tickets
  • poorest travelers on a ship from U.S to Europe
  • some may have been turned away from entrance to the U.S, maybe artisans whose visas expired and were returning home
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5
Q

The Steerage: Context

A
  • depicts social divisions in society
  • 1902-1917 Alfred Stieglitz’s Gallery 291: most progressive gallery in the US, photography showcased next to avant garde + modern works
  • photography becoming its own form of art
  • more focused on composition than subject matter
  • shift from pictorialism to modernism
  • published in 1911 Camera Work
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6
Q

The Kiss: Identifiers

A

Style: Art Nouveau
Artist: Gustav Klimt
Location: Austria
Date: 1907

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7
Q

The Kiss: Form

A
  • little human form is actually seen
  • bodies are flat and geometric forms (rectangles for male, circles for female)
  • faces only part that is modeled
  • bodies are suggested under sea of richly designed patterning
  • part of symbolism
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8
Q

The Kiss: Function

A
  • express passion and love
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9
Q

The Kiss: Content

A
  • similar to religious icons
  • both crowned with flowers
  • rich patterns on clothes (angular patterns for the male, curvilinear patterns for the female)
  • her face is calm and passive
  • his neck shows physical power and desire
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10
Q

The Kiss: Context

A
  • use of gold leaf reminiscent of Byzantine mosaics, influenced by his trip to San Vitale in Ravenna
  • influenced by gold applied to medieval illuminated manuscripts
  • part of a movement called the Vienna Succession, which broke away from academic training in schools at that time
  • painted during his Golden Period, recalls Art Nouveau
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11
Q

The Kiss (2): Identifiers

A

Style: Modernist Sculpture
Artist: Constantin Brancusi
Location: France
Date: 1907 CE

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12
Q

The Kiss (2): Form

A
  • one continuous block of limestone
  • cubist rendering, simplified carving
  • rough surface contributes to feeling of naturalism
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13
Q

The Kiss (2): Function

A
  • to express a subject in its most pure form
  • requested by John Quinn, Brancusi’s patron in New York, who admired the small plaster version of the The Kiss in the collection of the artist Walter Pach
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14
Q

The Kiss (2): Content

A
  • intertwined figures with interlocking forms
  • two eyes become one like cyclops
  • shows the form of the limestone: raw and archaic, return to primitive form after renaissance and baroque
  • rejecting the academy
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15
Q

The Kiss (2): Context

A
  • Brancusi worked in Rodin’s studio
  • fourth stone version of the subject
  • romanian born french sculptor, outsider in the art world
  • devoted to finding the simplest and most elegant way to express the essence of his chosen subject
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16
Q

The Portuguese: Identifiers

A

Style: Analytic Cubism
Artist: Georges Braque
Location: France
Date: 1911

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17
Q

The Portuguese: Form

A
  • oil on canvas
  • fractures forms: break down of objects into smaller forms
  • cubism, monochromatic
  • multiple perspectives
  • clear edged surfaces at the front of the picture frame, not recessed in space
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18
Q

The Portuguese: Function

A
  • to show all sides of a subject
  • explore style of cubism
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19
Q

The Portuguese: Content

A
  • neither naturalistic nor conventional
  • not a portrait of a portuguese musician, but rather an exploration of shapes
  • only realistic elements are stenciled letters and numbers
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20
Q

The Portuguese: Context

A
  • Analytical Cubism (1907-1912)
  • worked in concert with Pablo Picasso to develop this style
  • highly experimental, jagged edges, sharp and multifaceted lines
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21
Q

Goldfish: Identifiers

A

Style: Fauvism
Artist: Henri Matisse
Location: France
Date: 1912 CE

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22
Q

Goldfish: Form

A
  • oil on canvas
  • bright, contrasting, complimentary colors
  • thinly applied colors, white of canvas shows through
  • energetic, painterly brushwork
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23
Q

Goldfish: Function

A
  • to invite the viewer to indulge in watching the graceful movement and bright colors of the fish
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24
Q

Goldfish: Content

A
  • still life
  • symbolize tranquil state of mind
  • two different views of the fish, from above and the side
  • plants are distorted by the glass
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25
Q

Goldfish: Context

A
  • goldfish recurring subject in his work
  • introduced to Europe from East Asia in 17th century
  • matisse visited Morocco for 4 months in 1912: noted how locals would daydream or hours gazing at the goldfish bowls, painted at home in his studio in Paris
  • matisse influenced and was influenced by the Faves who used bright, unnatural , clashing colors
  • admired lifestyle of Moroccans- meditative state of mind, paradise lost
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26
Q

Improvisation #28: Identifiers

A

Style: Der Blaue Reiter
Artist: Wassily Kandinsky
Location: Germany
Date: 1912

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27
Q

Improvisation #28: Form

A
  • oil on canvas
  • not quite abstract, some recognizable forms
  • strongly articulated use of black lines
  • colors seem to shade around line forms
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28
Q

Improvisation #28: Function

A
  • try to associate painting with music
  • synesthesia
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29
Q

Improvisation #28: Content

A
  • battle scene: apocalypse, a moment in which the sins of the world are going to be washed away
  • yellow: flood- cleansing the world of sin
  • blue: cannons being fired
  • Orange: manes of horses: 4 horsemen of the apocalypse? lead on horseback to the new world?
  • using schematic means, depicts cataclysmic events on the left and a sense of spiritual salvation of the right
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30
Q

Improvisation #28: Context

A
  • worried that if things were too recognizable we would lose our ability to respond to the color and form
  • the way one would react to music
  • used words associated with music in his title
  • relationship to atonal music
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31
Q

Self-Portrait as a Soldier: Identifiers

A

Style: Die Brucke
Artist: Ernst Kirchner
Location: Germany
Date: 1915

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32
Q

Self-Portrait as a Soldier: Form

A
  • oil on canvas
  • part of Die Brucke: influenced by primitivism , unidealized nudes
  • jarring bold colors: nonrepresentational but symbolic
  • shallow picture space, titled perspective
  • nightmarish quality
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33
Q

Self-Portrait as a Soldier: Function

A
  • express psychological fears
  • meant to be grotesque to show effects of war
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34
Q

Self-Portrait as a Soldier: Content

A
  • in uniform in his studio, not the battlefield
  • severed hand was not a literal injury but a metaphor: many artists depicting wartime amputees, injury to identity as an artist
  • shows how soldiers were abandoned when no longer useful
  • main figure has a drawn face, with a cigarette hanging loosely from his lips
  • eyes unseeing and empty
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35
Q

Self-Portrait as a Soldier: Context

A
  • volunteered to serve as a driver in the military
  • declared unfit due to health issues and sent to recover
  • painted during recovery, based on his personal fears
  • Hitler persecuted artists who painted in styles outside of Aryan Ideal: organized The Degenerate Art exhibition to mock modern artists, two-thirds of Kirchner’s works were displayed
  • died by suicide in 1938
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36
Q

Memorial Sheet for Karl Liebknecht: Identifiers

A

Style: German Expressionism
Artist: Kathe Kollwitz
Location: Germany
Date: 1919

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37
Q

Memorial Sheet for Karl Liebknecht: Form

A
  • stark black and white of the woodcut used to magnify grief
  • multiple copies to spread political messages
  • three horizontal sections: Top: faces are the most modeled- focus on his followers. Figures close together
    Middle: Has less details, emphasizing the crowd at the top
    Bottom: The martyred leader
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38
Q

Memorial Sheet for Karl Liebknecht: Function

A
  • Family of Liebknecht asked Kollwitz to memorialize him
  • acknowledge plight of working class
  • political cause
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39
Q

Memorial Sheet for Karl Liebknecht: Content

A
  • assassination of communist leader
  • focus is not on the man but his followers that put their faith in him
  • women and children were a central concern for her work
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40
Q

Memorial Sheet for Karl Liebknecht: Context

A
  • Liebknecht was among the founders of group that became German Communist Party
  • shot to death during a Communist uprising in Berlin Spartacus Revolt: military units captured leaders
  • held to be a martyr in the Communist cause
  • no political references in the woodcut
  • emphasis of women grieving over dead children; her son died in World War I; the artist then became a socialist
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41
Q

Villa Savoye: Identifiers

A

Style: International Style Architecture
Artist: Le Corbusier
Location: Poissy-Sur-Seine France
Date: 1929

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42
Q

Villa Savoye: Form (Outside)

A
  • on a large piece of land
  • pilotis- slender columns: Raise the building off the ground & allow air to circulate
  • ground floor is recessed and painted green: so that it look like the delicate pilotis support the house
  • strip of windows makes the wall stay one single plane
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43
Q

Villa Savoye: Form (Inside)

A
  • contrasts from outside due to its fluid and curved forms
  • ramp leads seamlessly to the roof terrace
  • desire to integrate landscape and architecture
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44
Q

Villa Savoye: Function

A
  • his masterpiece
  • represents refinement of his architectural system
  • dwelling meant to maximise leisure in the machine age
  • allowed family to spend time outdoors in the most efficient way possible
  • a three bedroom country house with servants’ quarters on the ground floor
  • built in suburban Paris as a retreat for the wealthy Pierre and Emilie
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45
Q

Villa Savoye: Content

A
  1. free plan
  2. free facade
  3. ribbon window
  4. pilotis
  5. roof garden
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46
Q

Villa Savoye: Context

A
  • family had few requirements so he had a lot of freedom
  • argued that machines could create highly precise objects
  • admired systems of greek with refined mathematical proportions and efficiency of race cars, airplanes, and factories
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47
Q

Composition with Red, Blue, and Yellow: Identifiers

A

Style: De Stifl
Artist: Piet Mondrian
Location: Netherlands
Date: 1930

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48
Q

Composition with Red, Blue, and Yellow: Form

A
  • oil on canvas
  • squares and rectangles
  • large red square balanced by small blue square
  • varying shades of black and white
  • only primary colors and neutral colors
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49
Q

Composition with Red, Blue, and Yellow: Function

A
  • To express his philosophical views
  • to express modern life
  • to show his commitment to relational opposites, asymmetry, and pure planes of color
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50
Q

Composition with Red, Blue, and Yellow: Content

A
  • interested in civilization that progressed by moments of tension and reconciliation between oppositional forces
  • saw them as an expression of duty
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51
Q

Composition with Red, Blue, and Yellow: Context

A
  • Mondrian painted in many styles before finding his own
  • inspired by Cubism
  • believed that the evolution of abstraction was a sign of humanity’s progress
  • living in the Netherlands during WWI and influenced by fellow artists, philosophers, and Theosophy
52
Q

Illustration from The Results of the First Five-Year Plan: Identifiers

A

Style: Constructivism
Artist: Varvara Stepanova
Location: Soviet Union
Date: 1932

53
Q

Illustration from The Results of the First Five-Year Plan: Form

A
  • Photomontage: Cut and glue to give the illusions of a single image. photos, text, newspaper
  • carefully constructed: contrast, only 3 colors and tones: alternates black and white photos with sepia phots
  • red geometric shapes (color of USSR)
54
Q

Illustration from The Results of the First Five-Year Plan: Function

A
  • serves the ideal of the Soviet Union
  • propaganda- to show the world that USSR was leading force in global market
  • show the success of the plan with visual evidence
55
Q

Illustration from The Results of the First Five-Year Plan: Content

A
  • 5 year plan started by Stalin 1928 next to the speakers in teh number 5
  • CCCP russian initials for USSR
  • oversized photo of Lenin- founder of Soviet Union (1870 - 1924): eyes look to the future, connected to speakers by wires and electrical tower
  • huge crowd = mass popularity of Stain’s plan and celebration of system
56
Q

Illustration from The Results of the First Five-Year Plan: Context

A
  • ruled by Czar for centuries, 1922 new communist country
  • joseph stalin comes in to power after death of Lenin
  • plan had radical measures that forced farmers to give up land and livestock- widespread extreme poverty and famine, terror, fear, violence replace initial optimism
  • started as positive propaganda, became a means to hide disastrous economic policy from the rest of the world
57
Q

Object (Le Déjeuner en Fourrure): Identifiers

A

Style: Surrealism
Artist: Meret Oppenheim
Location: France
Date: 1936

58
Q

Object (Le Déjeuner en Fourrure): Form

A
  • porcelain teacup covered with fur
  • an assemblage
59
Q

Object (Le Déjeuner en Fourrure): Function

A
  • to cause us to think about the tactile experience of feeling the fur when we expect to feel porcelain
  • to disturb our reality
60
Q

Object (Le Déjeuner en Fourrure): Context

A
  • done in response to Picasso’s claim that anything look good in fur
  • erotic overtone
  • contrast of textures and combination of unalike objects
  • surrealist critic Andre Breton named the peace in reference to Manet’s Luncheon on the Grass
  • quintessential surrealist work of art
61
Q

Falling Water: Identifiers

A

Style: Prairie Style Architecture
Artist: Frank Lloyd Wright
Location: Pennsylvania
Date: 1936

62
Q

Falling Water: Form

A
  • reinforced concrete
  • connection with nature = liberal use of glass
  • no walls face the falls
  • cantilevered steel-supported porches extend over a waterfall
63
Q

Falling Water: Function

A
  • weekend home
  • organic architecture in harmony with the site
  • make waterfall part of the house
  • test boundaries of architecture
64
Q

Falling Water: Content

A
  • elongated view of the horizon and woods reflects image of modern man caught up in the constant change and flow
65
Q

Falling Water: Context

A
  • transcendentalist background: belief that human life is part of nature
  • drew the design in 2 hours
  • created at the age of 67
66
Q

The Two Fridas: Identifiers

A

Style: Surrealism
Artist: Frida Kahlo
Location: Mexico
Date: 1939

67
Q

The Two Fridas: Form

A
  • double self portrait: mirrored pose, bilateral symmetry
  • stormy background: other worldly place
68
Q

The Two Fridas: Function

A
  • express her feelings about her divorce and identity
69
Q

The Two Fridas: Content

A
  • stormy background- indicates tumultuous time
  • 2 different outfits: before her marriage she wore the modern European dress, Rivera encouraged her embrace clothing of her Mexican heritage
  • hold hands and are bonded by a vein
  • left: heart is weak and exposed
  • right: heart is strong
  • she used blood to symbolize union
70
Q

The Two Fridas: Context

A
  • painted the year she divorced Diego River
  • childhood polio caused her right leg to be deformed
  • a bus accident at 18 left her disabled and unable to have children
  • had 32 operations as a result of the accident
71
Q

The Migration of the Negro, Panel No. 49: Identifiers

A

Style: Harlem Renaissance
Artist: Jacob Lawrence
Location: America
Date: 1940

72
Q

The Migration of the Negro, Panel No. 49: Form

A
  • tempera on hardboard
  • part of a series of 60
  • flat geometric shapes and bright colors
73
Q

The Migration of the Negro, Panel No. 49: Function

A
  • document migration of african americans from the south to the north
  • fleeing Jim Crow Laws, more work in the North to be found (industrialization)
    Caused by Jim Crow Laws, lynching, racial segregation and discrimination, poor economic conditions
74
Q

The Migration of the Negro, Panel No. 49: Content

A
  • shows the segregation experienced in the north
  • white figures ignore black figures
  • black figures are smaller, seem farther away and less important
75
Q

The Migration of the Negro, Panel No. 49: Context

A
  • lawrence was 24 when he created them
  • did a lot of research for the series
  • his family was part of the migration
  • received funding from the WPA (works progress administration)
  • part of the New Deal
76
Q

The Jungle: Identifiers

A

Style: Afro-Cuban
Artist: Wifredo Lam
Location: America
Date: 1943

77
Q

The Jungle: Form

A
  • gouache on paper
  • 8 ft. sqare
  • cluster of human figures and sugarcane
  • mixture of human, supernatural, and vegetal forms
78
Q

The Jungle: Function

A
  • show reality of life in Cuba instead of what is shown to tourists
  • did not want to show Cha-Cha-Cha
79
Q

The Jungle: Content

A
  • sugarcane does not grow in jungles, it grows in fields
  • foreigners viewed the island nation as a playground
  • reality: hard labor of sugarcane farming
80
Q

The Jungle: Context

A
  • cuban artist
  • 1940s sugarcane was Cuba’s biggest business
  • required thousands of laborers
  • similar work to cotton plantations
  • incorporation symbols of Santeria: afro-cuban religion, supernatural merges with natural world
81
Q

Dream of a Sunday
Afternoon in the Alameda Park: Identifiers

A

Style: Mexican Mural Painting
Artist: Diego Rivera
Location: Mexico
Date: 1947 CE

82
Q

Dream of a Sunday
Afternoon in the Alameda Park: Form

A

fresco/mural
● famous in Mexican history
● originally used for propaganda under the post-revolution government,
● New - artists began to use it for their own purposes, highlighting the “nightmares” under the
political idealism that existed in the country

83
Q

Dream of a Sunday
Afternoon in the Alameda Park: Function

A

● a manifestation of one man’s experience with his Mexican heritage and love-life with a fellow artist
● could be seen as one of the precursors to the feminist/post-colonial art that shared the stories/experiences of people in minorities/people who had been oppressed and had not had their experiences ever shared in popular art before

84
Q

Dream of a Sunday
Afternoon in the Alameda Park: Content

A

Hundreds of characters from 400 yrs of Mexican history walk thru Mexico’s largest park
• some elements lighthearted and playful, others dark(conflict between indigenous woman and police officer + skeleton)
• fresco reads like a chronology from left to right: on the left is the conquest of Mexico by the Spaniards, then the fight for independence and Mexican revolution in the center, and modern achievements on the right
○ the middle highlights the lifestyle of the Mexican elite in the middle–the kind of people whose lavish lives, so in contrast to the majority of the impoverished country, lead to the revolution and overthrow of Porfirio Diaz

85
Q

Dream of a Sunday
Afternoon in the Alameda Park: Content 2

A

● show “both the nightmare and dreams” the genocide/oppression of conquest, then the dream of democracy;
religious idealism and religious intolerance,
dream of lavish living
effects of a divided nation; Rivera’s love for Kahlo and also her declining health
● all the figures overlap with each other; not quite interacting but also not separate

Content
● Frida Kahlo holds a yin/yang symbol
● represents opposite yet interdependent
forces, and also masculinity/femininity
● represents Kahlo and
Rivera’s relationship: she mentored him, then they became lovers, then they broke up but remained political comrades and often painted each other
● imagery from Mexican history, like a feather boa around the Catrina’s neck reminiscent of the Mesoamerican serpent god Quetzalcoatl

86
Q

Dream of a Sunday
Afternoon in the Alameda Park: Context

A

● the image of the Catrina woman was popularly known in Mexican culture at the time; around 1900 Posada had depicted a Catrina as a skeleton as a critique on the Mexican upper-class and the image became famous; Rivera appropriates this image in his fresco
● Rivera and Kahlo were married then divorced
● “Mexican muralism” was the the promotion of mural painting starting in the 1920s, generally with social and political messages as parts of an effort to reunify the country under the post-revolution government

● Rivera never officially joined the Surrealists, but the painting is nonetheless demonstrative of the Surrealist movement, which tried to depict subjects that came from dreams or the subconscious, in that this is titled as depicting a dream

87
Q

Fountain: Identifiers

A

Style: Dada
Artist: Marcel Duchamp
Location: France
Date: 1917

88
Q

Fountain: Form

A
  • readymade- an ordinary, manufactured item designated by the artist as a work of art
  • urinal on its side
89
Q

Fountain: Function

A
  • Duchamp wanted to test board members to see if they would accept his work
  • submitted as “R. Mutt” : unknown new artist, did not want to put colleagues in a difficult position
90
Q

Fountain: Content

A
  • R. Mutt: comic overtones, comes from Mott Works, a large sanitary equipment manufacturer, reference to the popular cartoon “Mutt and Jeff”
  • article published next to Stieglitz’s photo
91
Q

Fountain: Context

A
  • he was on Board- Society of Independent Artists
  • Duchamp was not known as the artist at the time(close friends knew, some suspected)
  • it was rejected
  • Duchamp asked Stieglitz to photograph it
  • known to influence many artists on 50’s & 60’s
  • thought it had the least chance of being liked
92
Q

Woman I: Identifiers

A

Style: Abstract Expressionism
Artist: Willem de Kooning
Location: America
Date: 1950

93
Q

Woman I: Form

A
  • oil on canvas
  • lots of layers on paint
  • thick black lines
  • lots of color used
  • expressive brushstrokes
  • active painting
  • made quickly
94
Q

Woman I: Function

A
  • ironic comment on movie and advertising industries / on stereotypes
95
Q

Woman I: Content

A
  • angry woman baring her great fierce teeth and large eyes
  • large bulbous breast: satirical, reflect those on magazine covers
  • smile is cut out of a female smile from a Camel cigarette
  • blank stare, frozen grine
  • vague background
  • 1/6 in these series of this woman influenced by Paleolithic goddesses to pin-up girls
96
Q

Woman I: Context

A
  • artists wanted to see more of the hand of the artist in the work
  • meaning. we can see the brush strokes
  • rather than the perfect lines of Mondrian
97
Q

Seagram Building: Identifiers

A

Style: Modernist Architecture
Artist: Mies Van Der Rohe and Philip Johnson
Location: New York City
Date: 1954

98
Q

Seagram Building: Form

A
  • steel frame and glass
  • steel frame with glass curtain wall and 1,500 tons of bronze
  • set back from the street on a wide plaza that is balanced by reflecting pools
  • bronze veneer gives building monolithic look
  • clean space and white lines
  • internal structure is a skeleton system that holds the building up from within
99
Q

Seagram Building: Context

A
  • no ornamentation, no paint applied to exterior
  • Phyllis Lambert gave architect unlimited budget: cost 41 million
  • influenced other skyscrapers to have public space (privately owned)
99
Q

Seagram Building: Function + Content

A

Function: wanted structural elements to be visible, corporate building for Seagram (distillery)
Content: depiction of less is more, reflection of minimalist movement in painting, interplay of vertical and horizontal lines

99
Q

Marilyn Diptych: Identifiers

A

Style: Pop art
Artist: Andy Warhol
Location: America
Date: 1962

100
Q

Seagram Building: Form + Content

A

● Acrylic on canvas
● 6 x 9 ft
● Repetition
○ 50 Marilyns!
● Diptych
● Marilyn Monroe is an icon
○ Like Mary
○ People used to worship religious
icons now celebrities are
worshipped

101
Q

Marilyn Diptych: Function

A

● Commentary on the time he lives in
○ Repeated exposure to an image
■ Desensitized to it
■ By repeating Monroe’s face,
he drains away her life but
also our’s
● Deadens our emotional
response to her death
● For us to consider the role of mass
media images in our everyday lives

102
Q

Marilyn Diptych: Context

A

● Created after Monroe’s death
○ Monroe died in 1962 of an
overdose
■ One of Hollywood’s most
popular star of the time
● Warhol’s art is about the time he lived
in, not his interior life
○ Leading figure in the art
movement, pop art

103
Q

Narcissus Garden: Identifiers

A

Style: Installation/Performance Art
Artist: Yayoi Kusama
Location: Japan
Date: 1966

104
Q

Narcissus Garden: Form

A

● 1500 large mirrored stainless steel
balls
● Placed on a lawn
○ Under a sign that said “Your
Narcissism for Sale”

● Installation
○ Temporary work of art made up of
assemblages made for a
particular space

105
Q

Narcissus Garden: Function

A

● Commentary on the commercialism
and vanity of the current art world
○ Offered the balls for sale for $2
each

106
Q

Narcissus Garden: Content

A

● References the ancient myth of
Narcissus
○ A young man who is enraptured
in his own image in reflecting
water
○ He stares at it until he becomes a
flower
■ (some versions of this myth,
the young man stares until
he drowns)

107
Q

Narcissus Garden: Context

A

● It is an installation, so it has been displayed in
many places
○ Both in dry places and water
● Originally displayed at the Venice Biennale
○ Major show of contemporary art that takes
place every other year at various venues
throughout Venice, started in 1895

● It was later moved to water
○ The balls reflect the natural environment
and the viewers
○ The water placement makes a stronger
connection to the ancient myth
○ The balls moves with the currents of the
water and wind
■ Reflecting organically made ever
changing view points

108
Q

The Bay: Identifiers

A

Style: Abstract Expressionism
Artist: Helen Frankenthaler
Location: America
Date: 1963

109
Q

The Bay: Form + Function

A

● Acrylic on canvas
○ More flexibility than oil
● Colors blur together
● Tilt the canvas
○ Blend of the artist’s control
and gravity
* You are meant to take from it what you will

110
Q

The Bay: Content

A

● Range of colors blending into each
other across the canvas
● The colors don’t have to represent
something in particular
○ They can be ambiguous or
emblematic

111
Q

The Bay: Context

A

● Influenced by Jackson Pollock
● Part of abstract expressionism
● After the trauma of WWII, artists
believed that if art was going to have a
real impact on the social
consciousness of Americans it would
have to radically change and move
toward the abstract
○ So that it could be more universal

112
Q

Lipstick (Ascending on Caterpillar Tracks): Identifiers

A

Style: Pop Art
Artist: Claes Oldenburg
Location: America
Date: 1969

113
Q

Lipstick: Form + Function

A

● 24 ft high
● A tube of lipstick on tank base
● Protest the Vietnam War
● Never intended to be permanent
○ Base made out of plywood
○ Top could be comically inflated and deflated
like a balloon (did not always work)

114
Q

Lipstick: Content

A

● Combined the highly “feminine”
product + “masculine” machinery of
war
● Critique on hyper masculine rhetoric of
the military & blatant consumerism of
the US
● The lipstick tube resembles a bullet
and has a phallic shape
○ Making a benign beauty product
seem masculine / violent
● Juxtaposition implies the US
obsession with beauty & distraction
from war in Vietnam

115
Q

The Lipstick: Context

A

● Oldenburg experimented with lipstick
forms in the early 60s
● Lipstick tubes looming like massive
pillars over Piccadilly plaza (like NY
Times square)
● His first large scale public artwork
● Yale was his alma mater
● The courtyard had a WWI memorial

116
Q

Spiral Jetty: Identifiers

A

Style: Earth Art
Artist: Robert Smithson
Location: America
Date: 1970

117
Q

Spiral Jetty: Form

A

● Earthwork
○ Large outdoor work in which the earth
itself is the medium

● Coil of local rock
● Extremely remote part of the Great Salt
Lake
○ Inaccessible
■ Abandoned mines & mining
equipment
● Made with a tractor
● The artist liked the pinkish red color of the
water due to the presence of algae that live
in the high salt content
● The spiral has appear in petroglyphs in
Indigenous American art

118
Q

The Spiral: Function

A

● A pier in the water
● Exploration of the relationship
between the industrial world & the
natural world
○ Man’s impact on nature

119
Q

The Spiral: Content

A

● Terminal basin - similar to the dead
sea
● Almost nothing can live in the water
● The water rises and falls depending on
environmental conditions
○ The work of art was meant to
change with the environment
● There is a theory that there is a
whirlpool that connects the lake to the
Pacific - hence the spiral shape of the
sculpture

120
Q

The Spiral: Context

A

● 1970 was the first year to have Earth
Day
● Art is put into the environment
○ Outside of the home or museum
and outside of the commercial - it
cannot be bought or sold
○ The museum tries to protect art
○ This art is meant to change

121
Q

House in new Castle County: Identifiers

A

Style: Post-Modernist Architecture
Artist: Venturi, Rauch, and Brown
Location: Delaware
Date: 1978

122
Q

House in New Castle County: Form

A

● Rural location - rolling hills & forest
● Grand & whimsical
● Front facade has a floating arched
screen
○ Identifies the structure as a
residence
○ Camouflages the windows behind
it

● Doric columns on back facade
● Inside - lots of wood decoration,
painted jagged arches

123
Q

House of New Castle County: Function

A

● Built for a family of 3
● Husband & wife
○ Wife was a musician - elaborate
well stocked music room
○ Husband was a bird watcher -
big windows

124
Q

House of New Castle County: Content

A

● Post-modern architecture takes
pieces from previous eras and puts
them together in incongruous ways
○ Wide, imbalance columns (one
of which is only a half)
○ Imbalanced placement of
windows
○ Both a pediment and an arch at
the entrance
○ A projection from only one side

125
Q

House of New Castle County: Context

A
  • artist studied in Rome
  • interested in Baroque and Mannerist styles

Art History (9 decks)

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