Art History 2009 Class 9 Lecture
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Art History 2009 Class 9 Lecture

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Dick Nelson's concluding art history lecture, from April 30, 2009. Covers twentieth century art.

Dick Nelson's concluding art history lecture, from April 30, 2009. Covers twentieth century art.

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Art History 2009 Class 9 Lecture Art History 2009 Class 9 Lecture Presentation Transcript

  • Jackson Pollock Action Painting: A visual choreography of an artist’s interaction with paint and color. This is a presentation; not representation.
  • Jackson Pollock Lavender Mist
  • Space Form Color A myth maker who proclaimed that the only valid subject matter is that which is tragic. “Without monsters and gods, art cannot enact a drama.” Rothco Rothco
  • Motherwell Elegy to the Spanish Republic No. 110
  • De Kooning Gotham News Reshaping post-war frustrations with a new expressive vision. De Kooning Woman
  • Albers Homage to the Square Color: Its Interaction & Expressive Qualities. Reason vs. Intuition Hoffman The Gate
  • Andy Warhol Campbell’s Soup Pop Art Familiarity breeds…?
  • Claes Oldenburg Hamburger Quality control!
  • Oldenburg Eraser Soft Bathtub Seeing the familiar in an unfamiliar way.
  • Contemporary Iconographics Jasper Johns American Flag Let’s run it up the flagpole and see how it flies.
  • Why Three? Thiebaud Three Machines Illustration or fine art?
  • OP Art Bridget Riley Movement In Squares
  • 1+1=3 Albers Homage To The Square
  • Nelson Homage To Albers Learning Never Ends Albers
  • Vasarely Optical Illusion Is permanence a factor in art?
  • Photo-Realism It’s all an illusion When paint mimics photos which mimic optical reality… (literally speaking.) Ralph Goings Ralph’s Diner
  • Chuck Close A synthesis of Pointillism, Photo-Realism, Op and Intuitive Dedication..
  • Close…..UP!
  • Christo Conceptual Art: Environmental Transformation (Now there’s a thought!)
  • Art and plants thrive in fertile soil. For some, art is only there for the picking. They plant and harvest endlessly, with little thought of replenishing or rotating the crop. But there are those artists and patrons who replenish, and in so doing, harvest a crop rich in both tradition and insight. Their soil encourages new growth and a mutation of endless varieties of new visual and tactile experiences. And then there are those who plant a new variety of seed which germinates to become esoteric concepts. Their soil Art: An bears abundant fruit, rich in verbal, philosophical, social and political pronouncements for a chosen few. This crop observation is not a feast for the eye or touch of a hand, for such qualities are no longer recognized by these authors or their supporters. Visual/tactile art is not literature, music or dance. What makes it unique is its ability to communicate visual ideas. When the visual/tactile experience no longer serves as the primary means of communicating, it may be an art form, but one whose definition serves another master. © 2009Richard Nelson
  • PAU