The document summarizes the emergence of Pop Art in Los Angeles during the 1960s, focusing on the work of Ed Ruscha. It discusses how the Ferus Gallery showed Andy Warhol's Campbell's Soup Cans in 1962, establishing LA as a center of Pop Art. It then describes Ruscha's paintings of common words and his book of photographs of gas stations along Route 66, which depicted the standardization of commercial culture through an objective, deadpan style that influenced other Pop artists in LA.
Rauschenberg, Robert (Milton Ernest)(b Port Arthur, TX, 22 Oct 1.docxcatheryncouper
Rauschenberg, Robert (Milton Ernest)
(b Port Arthur, TX, 22 Oct 1925; d Captiva Island, FL, 12 May 2008).
American painter, sculptor, printmaker, photographer, and performance artist. While too much of an individualist ever to be fully a part of any movement, he acted as an important bridge between Abstract Expressionism and Pop art and can be credited as one of the major influences in the return to favour of representational art in the USA. As iconoclastic in his invention of new techniques as in his wide-ranging iconography of modern life, he suggested new possibilities that continued to be exploited by younger artists throughout the latter decades of the 20th century.
1. Training and early work, to 1953.
Rauschenberg studied at Kansas City Art Institute and School of Design from 1947 to 1948 under the terms of the GI Bill before travelling to Paris, where he attended the Académie Julian for a period of about six months. On reading about the work of Josef Albers he returned to the USA to study from autumn 1948 to spring 1949 at BLACK MOUNTAIN COLLEGE, where he was taught byAlbers and his wife Anni Albers; he moved in spring 1949 to New York, where he attended the Art Students League until 1952. During this period he continued to visit Black Mountain College, where he came into contact with members of the department of music and dance, in particularJOHN CAGE and MERCE CUNNINGHAM, who helped shape his own ideas and in particular his reliance on chance methods, daily experiences and found material as elements of his art.
In the early 1950s, just as Abstract Expressionism was being recognized as the most important avant-garde movement to have emerged in the USA, Rauschenberg produced several series of abstract paintings: a group of White Paintings (1951; e.g. artist’s col., see 1980–81 exh. cat., p. 259), followed by Black Paintings (1951–2; e.g. artist’s col., see 1976–8 exh. cat., p. 67) and Red Paintings (1953; e.g. Beverly Hills, CA, Frederick R. Weisman priv. col., see 1976–8 exh. cat., p. 75). His concern, however, was not so much to project his personality through the individuality of the brushwork, as in action painting, but to present the textured surfaces of these essentially monochromatic works as screens whose appearance changed in response to the lighting conditions and the shadows cast on them by the spectators.
The first of Rauschenberg’s monochromes, some of which were painted on multiple panels measuring over 3 m in width overall, were made as backdrops for dance performances. While their austerity of form prefigures Minimalism of the 1960s, they were thus conceived largely in relation to the human figure. Rauschenberg’s importance and influence, in fact, were centred from the beginning on the highly original ways in which he reintroduced recognizable imagery. From 1949 to 1951 he and his wife, Susan Weil, whom he had met as a fellow student in Paris and married in 1950, produced a group of large-scale monoprints by shining a s ...
Stass Paraskos was a pioneer of modern art in Cyprus. But he was also a significant figure in the British art world of the 1950s and 1960s. As well as teaching at the radical art school Leeds College of Art, he was prosecuted by the British police in 1966 for displaying obscene paintings. The trial was an international cause celebre that led to a change in the law on obscenity and the arts in Britain. Paraskos was the founder of the first art school in Cyprus, the Cyprus College of Art, in 1969, and in his own work he chronicled the traumas of Cyprus, from its difficult birth out of the British Empire and colonialism, through its civil war and invasion by Turkey in 1974, to the inhuman treatment on the island of women and asylum seekers. Shunned still by the art establishment in Cyprus - the two main modern art galleries in Cyprus, the Leventis Art Museum and the Nicosia Municipal Art Gallery (NiMAC) still refuse to show his work - Paraskos saw himself as a perpetual outsider, a self-proclaimed anarchist who did not believe it was the job of art or artists to toe the line.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxgalerussel59292
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxjack60216
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
Cambridge International AS A Level Biology Coursebook - EBook (MaryFosbery J...
5.2 west coast_pop
1. West
Coast
Pop
Art
Art
109A:
Art
since
1945
Westchester
Community
College
Fall
2012
Dr.
Melissa
Hall
2. Ferus
Gallery
Los
Angeles
became
a
leading
center
of
Pop
art
in
the
1960’s
The
Ferus
Gallery,
Los
Angeles,
1962
Artnet
3. Ferus
Gallery
The
Ferus
Gallery
showed
Andy
Warhol's
Campbell
Soups
cans
in
1962
Irving
Blum
with
Andy
Warhol’s
Campbell’s
Soup
Cans
at
the
Ferus
Gallery
in
Los
Angeles,
1962.
Photo
by
William
Claxton.
Pacific
Standard
Time,
GeSy
Museum
4. Ferus
Gallery
Walter
Hopps
curated
Common
Objects
at
the
Pasadena
Art
Museum
-‐-‐
one
of
the
first
major
Pop
art
exhibiVons
in
the
country.
5. Ed
Ruscha
Ed
Ruscha
began
painVng
commonplace
words
like
“OOF”
and
“HONK”
and
presented
them
on
canvas,
isolated
from
any
context
that
would
give
them
meaning
Ed
Ruscha,
OOF,
1962
(reworked
1963)
Museum
of
Modern
Art
6. Ed
Ruscha
The
words
come
from
the
world
of
comic
books,
where
their
meanings
seem
to
be
simple
and
clear
Ed
Ruscha,
Annie,
1962
7. Ed
Ruscha
But
dislocated
from
their
context
they
become
abstracVons,
like
Jasper
Johns’
Flags
and
Targets
Jasper
Johns,
Target,
1958
Ed
Ruscha,
OOF,
1962
(reworked
1963)
Museum
of
Modern
Art
8. Ed
Ruscha
In
1963
Ruscha
published
a
book
of
photographs
of
gasoline
staVons
taken
along
Route
66
Ed
Ruscha,
Twenty
Six
Gasoline
Sta:ons,
1963
9. Ed
Ruscha
The
photographs
are
idenVfied
simply
by
locaVon
and
are
dispassionate
in
approach
Ed
Ruscha,
Phillips
66,
Flagstaff
Arizona
From
Twenty
Six
Gasoline
Sta:ons,
1963
10. Ed
Ruscha
Completely
lacking
in
poetry
or
aestheVc
value,
the
pictures
operate
like
“found
objects”
They
capture
the
bland
impersonality
of
the
highway
landscape,
and
its
mass-‐produced
sameness
Ed
Ruscha,
Twenty
Six
Gasoline
Sta:ons,
1963
11. Ed
Ruscha
“The
series
was
meant
to
portray
the
standardizaVon
of
industry
visually
overtaking
the
country:
each
of
the
photographs
was
taken
along
Route
66
on
the
way
from
Los
Angeles
to
Oklahoma
City,
which
Ruscha
traveled
several
Vmes
a
month.
The
myth
Jack
Kerouac
invoked
with
his
novel
"On
the
Road"
crumbled
in
Ruscha’s
uniform
landscapes
populated
by
idenVcal
signs.
Trips
no
longer
seemed
like
adventures,
but
like
an
endlessly
monotonous
repeVVon
of
the
everyday.”
“The
Dark
Side
of
Pop,”
Db
Artmag
hSp://www.db-‐artmag.de//2004/8/e/ Ed
Ruscha,
Twenty
Six
Gasoline
Sta:ons,
1963
1/279.php
12. Ed
Ruscha
Ruscha
then
began
to
make
painVngs
and
silkscreens
based
on
the
gasoline
staVon
photographs.
Ed
Ruscha,
Standard
StaVon,
Amarillo,
Texas,
1963,
Hood
Museum
of
Art,
Dartmouth
College
13. Ed
Ruscha
In
another
photographic
work
Ruscha
mounted
a
camera
to
his
car
and
drove
up
and
down
Sunset
Boulevard
taking
photographs
Ed
Ruscha
holding
his
book
Every
Building
on
the
Sunset
Strip,
1967.
Pacific
Standard
Time,
GeSy
Museum
14. Ed
Ruscha
The
resulVng
pictures
were
assembled
in
an
accordion-‐fold
book
Vtled
Every
Building
on
the
Sunset
Strip
15. Ed
Ruscha,
Every
Building
on
Sunset
Strip,
1966
Art
Gallery
of
North
South
Wales
16. “Every
Building
on
the
Sunset
Strip
(1966)
is
a
27-‐foot
accordion-‐fold
strip
of
photographs
that
give
you
exactly
what
the
Vtle
promises,
with
one
part
of
each
building
at
the
top
of
the
page
and
the
other
upside
down
at
the
boSom,
as
if
the
middle
is
the
asphalt
along
which
your
eyes
are
driving”
hSp://www.frieze.com/issue/review/ed_ruscha_and_silke_oSo_knapp
17. Ed
Ruscha
The
work
recalls
the
deadpan
approach
of
Warhol’s
Empire,
and
translates
the
cinemaVc
experience
to
the
staVc
format
of
a
book