Midterm Flashcards
(23 cards)
Black Square on a White Ground (The Black Square)
Kazmir Malevich
1914-15
out from canvas into three dimensions, influence for Lissitsky, R’s Growing Painting
Suprematist Composition: White on White
Kazmir Malevich
1918
white as a space of infinity, some composition (hand of artist seen), discussed by Moholy-Nagy
Tricolor Monochrome Triptych: Pure Red Color, Pure Yellow Color, Pure Blue Color
Aleksandr Rodchenko
1921
manifesto declaring end of painting, painting reduced to logical conculsion
Town
El Lissitzky
1919-20
Fountain
Marcel Duchamp
1917
shock, affront to the notion of art, bodily functions
Dust Breeding
Man Ray
1920
state of flux, Cage’s indeterminacy, impacted by environment, repurposing of work like R
First International Dada Fair
1920
“art is dead,” political, attacks notion of a gallery space
The Projection of the True Body
Antonin Artaud
1946
destruction of the form (thematically and mixing genres), late acceptance by art world
The Voice
Barnett Newman
1950
barely abstract but still there, religious references, white as a religious color
White Painting [Three Panels]
Robert Rauschenberg
1951
shock, not abstract (unlike Newman) no subjective reading, relationship to readymades, working within institution, turned into combine
Floor plan of John Cage “Untitled” Black Mountain College Event
Drawn by M.C. Richards
1952
no photographs, action happened everywhere, connection to lots of mediums, Artaud and mise en scene
Growing Painting
Robert Rauschenberg
1953
radically material (dirt), temporality and nature, relation to Black Square and historical avantgarde, work and wall (Kelly)
Score for Fontana Mix
John Cage
1958
indeterminacy and lack of knowledge of outcome, contrast to determinate chance-based works like Music of Changes
Window, Museum of Modern Art, Paris
Ellsworth Kelly
1949
constructed relief, moves into real space, window as metaphor, Fresh Widow, canvas as physical with two sides
Colors for a Large Wall
Ellsworth Kelly
1951
each is a separate panel, each is a monochrome, chance
Painting for a White Wall
Ellsworth Kelly
1952
colors as signifiers, universal pictorial language, color as a commodity
Odalisk
Robert Rauschenberg
1955/58
screen and depth, repurposing of White Paintings, flatbed picture plane, occupies space not just wall
Olympia
Cy Twombly
1957
relation to Manet and original but “fuck Olympia” as a violation of high art, effacing canvas, iteration
Factum I
Robert Rauschenberg
1957
has duplicate, paint and cloth and language, iteration
22 the Lily White
Robert Rauschenberg
ca. 1950
red star implies sale, no sense of orientation
Music of Changes
John Cage
1951
chance techniques, brought together by difference, same year as when Cage enters anechoic chamber
Rebus
Robert Rauschenberg
1955
paint strip and Tu’m, play w/paint and fabric, multiple panels, flatbed picture frame, progression after white paintings
The Bride Stripped Bare by her Bachelors, Even (The Large Glass)
Marcel Duchamp
1915-23
exploring relationship to environment, flatbed picture plane, sandwiched between two panes of glass
