World off art 8th edtion by henry m sayre chapter 20

WORLD OF ART EIGHTH EDITION CHAPTER 20 From 1900 to the Present World of Art, Eighth Edition Henry M Sayre Copyright © 2016, 2013, 2010 by Pearson Education, Inc or its affiliates All rights reserved Learning Objectives of Distinguish between Cubism, Fauvism, German Expressionism, and Futurism Explain the rise of Dada and the emergence of Surrealism Discuss how politics impinged on the art of Diego Rivera and Pablo Picasso in the 1930s Learning Objectives of Describe the reaction of both American modernist and Abstract Expressionist painters to European modernism Explain how Pop Art and Minimalism both responded to the example of Abstract Expressionism Outline some of the major trends in contemporary art Introduction of • In the billboard ad L'Équipe de Cardiff (The Cardiff Team), men of the Cardiff rugby team are depicted leaping up at a rugby ball in the center of the painting • They represent the internationalization of sport Robert Delaunay, L'Équipe de Cardiff (The Cardiff Team) 1913 Oil on canvas, 10' 8-3/8" × 6' 10" Van Abbemuseum, Eindhoven, Holland Inv 84 De Agostini/Bridgeman Images [Fig 20-1] Introduction of • Delaunay called his work Simultanism, a term that refers to the immediacy of vision—suggesting that in any given instant an infinite number of states of being simultaneously exist • This is the thrust of twentieth-century art—speed, motion, change, culminating in the twenty-first century The New "Isms" of • At the center of the new spirit of change and innovation was Pablo Picasso • From around Europe and America, artists flocked to see Les Demoiselles d'Avignon, which by 1910 had come to symbolize the modernist break from tradition Georges Braque, Houses at l'Estaque 1908 Oil on canvas, 28-3/4 × 23-3/4" Hermann and Margit Rupf Foundation © 2015 Artists Rights Society (ARS), New York/ADAGP, Paris [Fig 20-2] The New "Isms" of • "Make it new!" was the mantra of the day, and new art movements—"isms"— rapidly succeeded one another Cubism of • Georges Braque's Houses at l'Estaque takes Paul Cézanne's manipulation of space even further • Braque presents a design of triangles and cubes as much as he does a landscape Barbara Kruger, Untitled (We won't play nature to your culture) 1983 Photograph, × 4' Courtesy of Mary Boone Gallery, New York [Fig 20-42] Identity, Media, and the Art Market of • Pipilotti Rist's video installation Ever Is Over All, is, apparently, the new Oz, where the tensions between nature and culture, violence and pleasure, the legal and the criminal, impotence and power, all seem to have dissolved Pipilotti Rist, Ever Is Over All 1997 Two-channel video with overlapping projections (color, sound with Anders Guggisberg) Museum of Modern Art, New York Fractional gift offered by Donald L Bryant, Jr., 241.2000.b © 2015 Digital image, Museum of Modern Art, New York/Scala, Florence © 2014 Pipilotti Rist [Fig 20-43] Identity, Media, and the Art Market of • Raymond Pettibon's subjects are often deeply political, but surfing is a recurring theme, one in which he seems to find a modicum of peace Raymond Pettibon, No Title (The bright flatness) 2003 Watercolor on paper, 39 × 38-1/2" Museum of Modern Art, New York Judith Rothschild Foundation Contemporary Drawings Collection Gift, 2736.2005 © 2015 Digital image, Museum of Modern Art, New York/Scala, Florence © 2015 Raymond Pettibon Courtesy of David Zwirner, New York [Fig 20-44] Identity, Media, and the Art Market of • Perhaps no popular art style has more thoroughly entered the art world than graffiti • British graffiti artist Banksy has taken the form to a new level, stenciling his work on walls across Great Britain Banksy, Kissing Coppers ca 2005 Spray paint on wall, various sites, Brighton and London, U.K © Michael Shuttleworth/Alamy [Fig 20-45] Identity, Media, and the Art Market of • Puerto Rico-based team Jennifer Allora and Guillermo Calzadilla took a number of everyday objects and transformed them into absurd and strange objects that force viewers to reconsider these markers of "cultural grandeur."  Algorithm is an example Jennifer Allora and Guillermo Calzadilla, Algorithm 2011 ATM, pipe organ, and computer, 19' 4-3/8" ì 10' 1/8" ì 4' 11-1/8" â Allora&Calzadill, courtesy of Gladstone Gallery, New York and Brussels [Fig 20-46] Identity, Media, and the Art Market of • In English artist Phil Collins's video trilogy The World Won't Listen he invited people to perform karaoke renditions of all the songs from The Smiths' classic 1987 album The World Won't Listen • What Collins's video suggests is we should never forget the songs that have saved our lives Phil Collins, Part one of The Smiths karaoke trilogy, The World Won't Listen 2004–07 Still Color video projection with sound, 58 Courtesy of Shady Lane Productions, Berlin, and Tanya Bonakdar Gallery, New York [Fig 20-47] The Critical Process Thinking about Art Today • Olafur Eliasson's installation The Weather Project simulated the sun, heatless, engulfed in fog • Made viewers wonder what we could create with the advanced technologies so readily at our disposal, when Eliasson could create this with such minimal means Olafur Eliasson, The Weather Project 2003 Installation view, Tate Modern, London Monofrequency lights, projection foil, haze machine, mirror oil, aluminum, and scaffolding Courtesy of the artist, Tanya Bonakdar Gallery, New York, and neugerriemschneider, Berlin [Fig 20-48] Thinking Back of Distinguish between Cubism, Fauvism, German Expressionism, and Futurism Explain the rise of Dada and the emergence of Surrealism Discuss how politics impinged on the art of Diego Rivera and Pablo Picasso in the 1930s Thinking Back of Describe the reaction of both American modernist and Abstract Expressionist painters to European modernism Explain how Pop Art and Minimalism both responded to the example of Abstract Expressionism Outline some of the major trends in contemporary art ... both American modernist and Abstract Expressionist painters to European modernism Explain how Pop Art and Minimalism both responded to the example of Abstract Expressionism Outline some of the major... Solomon R Guggenheim Museum, New York 54.1412 Photo © Solomon R Guggenheim Foundation, New York Photo by David Heald © 201 5 Artists Rights Society (ARS), New York/ADAGP, Paris [Fig 20- 4] Cubism... Texas Bequest of Marion Koogler McNay, 1950.112 © 201 5 McNay Art Museum /Art Resource, New York/Scala, Florence © 201 5 Estate of Pablo Picasso/Artists Rights Society (ARS), Fauvism of • Though the