Georges Seurat was a French post-impressionist painter born in 1859 who developed the style of pointillism. He studied color theories and spent his career moving away from impressionism towards a more structured technique using science and dots of color. His most famous work Sunday Afternoon on the Island of La Grande Jatte from 1886, currently located at the Art Institute of Chicago, was his breakthrough piece that established his pointillist style which uses dots of paint that blend together in the viewer's eye. Seurat's innovative technique changed the course of impressionism and made him one of the most important post-impressionist artists.
Pointillism is a painting technique that uses dots instead of brushstrokes and first appeared in 1883. The technique is associated with Georges Seurat, a neo-impressionist painter who was an important figure in developing pointillism, along with Paul Signac.
This document provides an overview of different types of visual images and methods for analyzing images. It discusses still images like paintings, drawings, sculptures, and photographs as well as moving images like film and television. It outlines objective and subjective approaches to analyzing images, including analyzing the theme, technical aspects, and artistic elements, as well as considering social contexts and emotional reactions. Specific examples are provided of different genres of paintings like religious, historical, costumbrist, landscape, still life, and portrait works. Key elements of paintings and sculptures are defined for analyzing works, such as materials, techniques, composition, use of lines and shapes, colors, textures, and perspectives.
Georges-Pierre Seurat was a French Neo-Impressionist painter in the late 19th century who developed the technique of pointillism. Pointillism involved applying small dots or points of pure color close together so that from a distance they visually blend in the eye of the observer. Seurat was inspired by scientific theories on color and contrast, and used this technique to carefully organize color on his canvases. He would labor for up to a year on preparatory studies before beginning a final painting using the pointillist method.
Georges Seurat was a French post-Impressionist painter born in 1859 in Paris, France. He is best known for developing the technique of pointillism and his most famous painting Sunday Afternoon on the Island of La Grande Jatte, which took him two years to complete using tiny dots of color. Seurat studied art in Paris and developed pointillism to produce greater luminosity and color brilliance in his works. He died of diphtheria in 1891 at the age of 31.
Pointillism was an art style developed by Georges Seurat in the 1880s where paintings are created using only dots of color. When viewed from a distance, the eye blends the dots through optical blending. Seurat's most famous work, Sunday Afternoon on the Island of La Grande Jatte, took two years to complete and contains over 3 million dots applied one at a time with patience. Pointillism caught on as an art movement where color dots create the illusion of blended color from afar.
24 слайда, 10 класс
Презентация о пуантилизме (направление в искусстве). Содержит подробные сведения о художниках, картинах, технике выполнения с многочисленными картинками и примерами. Также имеются вопросы и задания к теме.
Pointillism, History, Paul Signac, The scheme of Pointillism.
Informative and colorful presentation about pointillism - a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image. Contents: Pointillism, History, Paul Signac, The scheme of Pointillism, Tasks
Images From Images: Artists using their own work as raw materialThe MVA Studio
A collection of artists that use that create new art from their previous work or that modify existing materials including Willem de Kooning, Franz Kline and Gerhard Richter.
This deck is from the class “Experimental Image-Making” at Minneapolis College of Art & Design.
Georges Seurat was a French post-impressionist painter born in 1859 who developed the style of pointillism. He studied color theories and spent his career moving away from impressionism towards a more structured technique using science and dots of color. His most famous work Sunday Afternoon on the Island of La Grande Jatte from 1886, currently located at the Art Institute of Chicago, was his breakthrough piece that established his pointillist style which uses dots of paint that blend together in the viewer's eye. Seurat's innovative technique changed the course of impressionism and made him one of the most important post-impressionist artists.
Pointillism is a painting technique that uses dots instead of brushstrokes and first appeared in 1883. The technique is associated with Georges Seurat, a neo-impressionist painter who was an important figure in developing pointillism, along with Paul Signac.
This document provides an overview of different types of visual images and methods for analyzing images. It discusses still images like paintings, drawings, sculptures, and photographs as well as moving images like film and television. It outlines objective and subjective approaches to analyzing images, including analyzing the theme, technical aspects, and artistic elements, as well as considering social contexts and emotional reactions. Specific examples are provided of different genres of paintings like religious, historical, costumbrist, landscape, still life, and portrait works. Key elements of paintings and sculptures are defined for analyzing works, such as materials, techniques, composition, use of lines and shapes, colors, textures, and perspectives.
Georges-Pierre Seurat was a French Neo-Impressionist painter in the late 19th century who developed the technique of pointillism. Pointillism involved applying small dots or points of pure color close together so that from a distance they visually blend in the eye of the observer. Seurat was inspired by scientific theories on color and contrast, and used this technique to carefully organize color on his canvases. He would labor for up to a year on preparatory studies before beginning a final painting using the pointillist method.
Georges Seurat was a French post-Impressionist painter born in 1859 in Paris, France. He is best known for developing the technique of pointillism and his most famous painting Sunday Afternoon on the Island of La Grande Jatte, which took him two years to complete using tiny dots of color. Seurat studied art in Paris and developed pointillism to produce greater luminosity and color brilliance in his works. He died of diphtheria in 1891 at the age of 31.
Pointillism was an art style developed by Georges Seurat in the 1880s where paintings are created using only dots of color. When viewed from a distance, the eye blends the dots through optical blending. Seurat's most famous work, Sunday Afternoon on the Island of La Grande Jatte, took two years to complete and contains over 3 million dots applied one at a time with patience. Pointillism caught on as an art movement where color dots create the illusion of blended color from afar.
24 слайда, 10 класс
Презентация о пуантилизме (направление в искусстве). Содержит подробные сведения о художниках, картинах, технике выполнения с многочисленными картинками и примерами. Также имеются вопросы и задания к теме.
Pointillism, History, Paul Signac, The scheme of Pointillism.
Informative and colorful presentation about pointillism - a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image. Contents: Pointillism, History, Paul Signac, The scheme of Pointillism, Tasks
Images From Images: Artists using their own work as raw materialThe MVA Studio
A collection of artists that use that create new art from their previous work or that modify existing materials including Willem de Kooning, Franz Kline and Gerhard Richter.
This deck is from the class “Experimental Image-Making” at Minneapolis College of Art & Design.
Henri Cartier-Bresson was a renowned French photojournalist born in 1908 who is considered the father of modern photojournalism. He is renowned for his countless memorable images capturing 20th century individuals and events. His works were remarkable for their flawless composition, and he believed the subject could not be separated from the composition, framing subjects to tell stories. He never cropped his pictures and believed the "decisive moment" was when the whole picture came together to tell its story by capturing fleeting moments in time. His 1952 photo book "Images à la Sauvette" compiled 126 plates from around the world demonstrating his approach of capturing the decisive moment.
This document provides an outline and overview of key concepts, figures, artists, and works from Chapter 29 of an AP Art History textbook. It covers the rise of modernism in art from the late 19th century, including movements like Realism, Pre-Raphaelitism, Impressionism, Post-Impressionism, Symbolism, and Arts and Crafts. Numerous paintings, sculptures, and architectural works are presented along with the artists and concepts they exemplify, such as Manet's Le Déjeuner representing early modernism and Cézanne's compositions emphasizing color.
This document provides an overview of the genesis of 20th century design through key figures and movements that influenced modern art and design. It discusses notable designers like Frank Lloyd Wright, the Vienna Secession group, and the Dusseldorf School of Arts and Crafts. It also summarizes several influential art movements in the early 20th century like Cubism, Futurism, Dada, Surrealism, and Expressionism that impacted graphic design through painters such as Picasso, Duchamp, Kandinsky, and more. The document also highlights the role of photography in the modern movement through the works of photographers including Man Ray, Coburn, and others.
Texture refers to the surface qualities of artworks including painting, sculpture, and architecture. Impasto is a thick application of oil paint that creates a visibly textured surface. Rembrandt began using impasto techniques in his paintings to create realistic images from a distance. Texture can also be used illusionistically through trompe l'oeil techniques that fool the eye into thinking objects are really there, as seen in the still life paintings of William Harnett. Sculptors like Meret Oppenheim and Constantin Brancusi manipulate texture through materials like fur and smooth marble. Texture is also explored as a subject in Charles Sheeler's photographic work of barn siding.
Surrealism was an art movement that began after World War 1, influenced by psychology and dreams. It featured incongruous and bizarre elements to capture the strange nature of dreams. Photomontage, a technique used by Surrealists, involved cutting and joining bits of photographs to convey dreamlike effects. Contemporary photographers like Scott Mutter, Ben Goossens, and Petite Chose create surreal images that are coherent but incongruous, leaving the viewer to interpret any message or observation being made.
Henri Cartier-Bresson - the father of photojournalismInspiria
Born in Chanteloup, Seine-et-Marne, Henri Cartier-Bresson developed a strong fascination with painting early on, and particularly with Surrealism. In 1932, after spending a year in the Ivory Coast, he discovered the Leica - his camera of choice thereafter - and began a life-long passion for photography. In 1933 he had his first exhibition at the Julien Levy Gallery in New York. He later made films with Jean Renoir.
Henri Cartier-Bresson was a French photographer born in 1908 who is considered the father of modern photojournalism. He was inspired to pursue photography seriously after seeing a 1930 photograph. His career in photojournalism began in 1937 when he photographed the coronation of King George VI. Throughout his career, Cartier-Bresson captured candid photos that depicted real life and influenced many generations of photographers.
Georges Seurat was a French painter born in 1859 who is best known for inventing the pointillism technique of painting. Pointillism uses small dots or touches of different colors that are blended by the eye of the observer. Seurat's most famous painting, Sunday Afternoon on the Island of La Grande Jatte, took him two years to complete using this technique and measures 6'10" x 10'1" in size.
Magritte was a Belgian surrealist artist born in 1898 in Lessines, Belgium and died in 1967 in Brussels. He began drawing lessons at age 12 and his early works were Impressionistic and Cubist in style. His muse and wife was Georgette Berger. One of his most famous paintings is "The Treachery of Images" which questions the relationship between a painting and its subject. The painting being summarized is Magritte's 1952 surrealist work "Personal Values" which uses symbolic imagery in oil on canvas measuring 100 x 80 cm and is housed at the San Francisco Museum of Modern Art.
This document provides an overview of the history of net art from the 1960s to the early 2000s. It traces the evolution from early computer networks developed for communication and resource sharing to the rise of the internet and web-based art. Key developments discussed include the first online artworks and collaborations in the 1980s, early hypertext systems, browser-based net art in the 1990s, and activist digital art projects. The document presents these topics through images and descriptions of seminal artworks, technologies, and artists that helped establish net art as a new artistic medium.
Post modern and contemporary painting in germanypen lee
The document summarizes post-modern and contemporary painting in Germany from the late 20th century to present day. It begins with the annihilation of modern art by Nazis in 1933-1945 and the rise of expressionism. In the post-WWII era, artists like Joseph Beuys explored German identity and used performance art to promote social change. Gerhard Richter and Sigmar Polke reacted against capitalist realism. Neo-expressionism emerged in the 1970s-80s with artists like Baselitz, Immendorff, and Polke. Younger artists like Neo Rauch and the Leipzig School reference German art history while creating mythological narratives.
Henri Cartier-Bresson was a renowned French photographer and filmmaker born in 1908. He is considered a master of candid street photography and helped establish the genre of photojournalism. Cartier-Bresson was known for his ability to capture the decisive moment using his Leica camera. Some of his most famous photos were taken in cities around the world in the 1940s-1970s, documenting people and events in a documentary style. He helped found the photo agency Magnum Photos and had a significant influence on the art of photography.
Henri Cartier-Bresson was a famous French photographer known as "the father of modern photojournalism." He helped develop street photography and was influenced by surrealist art. After studying painting, he became frustrated and switched to photography. Notable photos include "Hyères" from 1932 and landscapes from Mexico and France that emphasize contrast through black and white film.
René Magritte was a Belgian surrealist artist born in 1898 in Lessines, Belgium and died in 1967 in Brussels. He began drawing lessons at age 12 and his early works were impressionistic and cubist in style. His painting "The Treachery of Images" from 1929, which shows a pipe with the words "Ceci n'est pas une pipe" is perhaps his most famous work. The document then discusses his 1952 painting "Personal Values" which is in the style of surrealism and housed at the SFMOMA.
Photography originated from the camera obscura, which was a darkened room or box with a small hole that projected an inverted image on the opposite wall. Over time, the camera obscura shrank in size and lenses were added to focus images. Two main photographic processes emerged in the 19th century - the daguerreotype invented by Daguerre and Niépce, which produced sharp detailed images on silver-coated plates, and the calotype process invented by Talbot which allowed for negatives and multiple prints. Entrepreneurs like Nadar and Disdéri popularized portraiture studios and new formats like cartes-de-visite. The development of photography influenced painting as Impressionists captured light
Pointillism is a style of art using small dots of pure color that are applied in patterns to form an image. The French artist Georges Seurat founded the Pointillism movement in the 1880s, though critics later named it Pointillism. Seurat's most famous work, Sunday Afternoon on the Island of La Grande Jatte, took two years to complete and contains over 3 million dots applied individually. The French artist Paul Signac was also prominent in the Pointillism style and known for his coastal scenes of the French coast.
Pointillism is a painting technique that uses small dots of pure color placed close together to compose the overall image, developed by Georges Seurat and Paul Signac in the 1880s as an offshoot of Impressionism. Some key pointillist works include Seurat's Sunday on the Island of La Grande Jatte from 1884 and Signac's Sunday from 1888-1890, both composed entirely of tiny colored dots.
SEURAT, Georges, Featured Paintings in Detail (1)guimera
Georges Seurat was a French post-Impressionist painter known for developing pointillism and chromoluminarism techniques. His most famous work is A Sunday Afternoon on the Island of La Grande Jatte, painted between 1884-1886, which served to introduce Neo-Impressionism. The painting depicts people relaxing in a suburban park and uses small dots of complementary colors that blend at a distance to create solid forms and luminosity. Seurat's Bathers at Asnières from 1883-1884 was another large and programmatic early work that demonstrated his meticulous preparation process and precise rendering of colors.
The document provides an overview of the four steps of art criticism: description, analysis, interpretation, and judgment. It includes examples of applying these steps to various artworks, such as Hughie Lee-Smith's "The Piper" from 1953 and Vincent Van Gogh's "The Starry Night" from 1889. The steps involve describing visual elements, analyzing use of design principles, interpreting the artist's message, and making a judgment on the work. Pablo Picasso's anti-war painting "Guernica" from 1937 is then presented as an example for the reader to practice applying the description step.
Keld Helmer-Petersen was a Danish photographer known for his abstract, high contrast black and white images from the 1960s. As a teenager, he was inspired by movements like De Stijl and the Bauhaus. He spent a year studying at the Chicago Bauhaus School in the 1960s, where he was inspired by the industrial landscape to create silhouettes. Throughout his career, he experimented with cameraless techniques and moving the camera during long exposures. In the late 1940s, he was an early pioneer of creative color photography, publishing a book of his color images in Copenhagen decades before color photography became an accepted art form.
The document provides an overview of the artists Jasper Johns and Robert Rauschenberg, who are seen as bridging Abstract Expressionism and Pop Art in the 1950s-1960s. It discusses key works by each artist that incorporated everyday objects and images in new ways, challenging traditional notions of what art could be and paving the way for Pop Art. Rauschenberg in particular is seen as undermining the idea of a singular meaning or illusion in art through his combines and erasures.
In this class we make a distinction between form and content (or what in visual culture we often call "subject matter") and begin the process of exploring the language of form.
Henri Cartier-Bresson was a renowned French photojournalist born in 1908 who is considered the father of modern photojournalism. He is renowned for his countless memorable images capturing 20th century individuals and events. His works were remarkable for their flawless composition, and he believed the subject could not be separated from the composition, framing subjects to tell stories. He never cropped his pictures and believed the "decisive moment" was when the whole picture came together to tell its story by capturing fleeting moments in time. His 1952 photo book "Images à la Sauvette" compiled 126 plates from around the world demonstrating his approach of capturing the decisive moment.
This document provides an outline and overview of key concepts, figures, artists, and works from Chapter 29 of an AP Art History textbook. It covers the rise of modernism in art from the late 19th century, including movements like Realism, Pre-Raphaelitism, Impressionism, Post-Impressionism, Symbolism, and Arts and Crafts. Numerous paintings, sculptures, and architectural works are presented along with the artists and concepts they exemplify, such as Manet's Le Déjeuner representing early modernism and Cézanne's compositions emphasizing color.
This document provides an overview of the genesis of 20th century design through key figures and movements that influenced modern art and design. It discusses notable designers like Frank Lloyd Wright, the Vienna Secession group, and the Dusseldorf School of Arts and Crafts. It also summarizes several influential art movements in the early 20th century like Cubism, Futurism, Dada, Surrealism, and Expressionism that impacted graphic design through painters such as Picasso, Duchamp, Kandinsky, and more. The document also highlights the role of photography in the modern movement through the works of photographers including Man Ray, Coburn, and others.
Texture refers to the surface qualities of artworks including painting, sculpture, and architecture. Impasto is a thick application of oil paint that creates a visibly textured surface. Rembrandt began using impasto techniques in his paintings to create realistic images from a distance. Texture can also be used illusionistically through trompe l'oeil techniques that fool the eye into thinking objects are really there, as seen in the still life paintings of William Harnett. Sculptors like Meret Oppenheim and Constantin Brancusi manipulate texture through materials like fur and smooth marble. Texture is also explored as a subject in Charles Sheeler's photographic work of barn siding.
Surrealism was an art movement that began after World War 1, influenced by psychology and dreams. It featured incongruous and bizarre elements to capture the strange nature of dreams. Photomontage, a technique used by Surrealists, involved cutting and joining bits of photographs to convey dreamlike effects. Contemporary photographers like Scott Mutter, Ben Goossens, and Petite Chose create surreal images that are coherent but incongruous, leaving the viewer to interpret any message or observation being made.
Henri Cartier-Bresson - the father of photojournalismInspiria
Born in Chanteloup, Seine-et-Marne, Henri Cartier-Bresson developed a strong fascination with painting early on, and particularly with Surrealism. In 1932, after spending a year in the Ivory Coast, he discovered the Leica - his camera of choice thereafter - and began a life-long passion for photography. In 1933 he had his first exhibition at the Julien Levy Gallery in New York. He later made films with Jean Renoir.
Henri Cartier-Bresson was a French photographer born in 1908 who is considered the father of modern photojournalism. He was inspired to pursue photography seriously after seeing a 1930 photograph. His career in photojournalism began in 1937 when he photographed the coronation of King George VI. Throughout his career, Cartier-Bresson captured candid photos that depicted real life and influenced many generations of photographers.
Georges Seurat was a French painter born in 1859 who is best known for inventing the pointillism technique of painting. Pointillism uses small dots or touches of different colors that are blended by the eye of the observer. Seurat's most famous painting, Sunday Afternoon on the Island of La Grande Jatte, took him two years to complete using this technique and measures 6'10" x 10'1" in size.
Magritte was a Belgian surrealist artist born in 1898 in Lessines, Belgium and died in 1967 in Brussels. He began drawing lessons at age 12 and his early works were Impressionistic and Cubist in style. His muse and wife was Georgette Berger. One of his most famous paintings is "The Treachery of Images" which questions the relationship between a painting and its subject. The painting being summarized is Magritte's 1952 surrealist work "Personal Values" which uses symbolic imagery in oil on canvas measuring 100 x 80 cm and is housed at the San Francisco Museum of Modern Art.
This document provides an overview of the history of net art from the 1960s to the early 2000s. It traces the evolution from early computer networks developed for communication and resource sharing to the rise of the internet and web-based art. Key developments discussed include the first online artworks and collaborations in the 1980s, early hypertext systems, browser-based net art in the 1990s, and activist digital art projects. The document presents these topics through images and descriptions of seminal artworks, technologies, and artists that helped establish net art as a new artistic medium.
Post modern and contemporary painting in germanypen lee
The document summarizes post-modern and contemporary painting in Germany from the late 20th century to present day. It begins with the annihilation of modern art by Nazis in 1933-1945 and the rise of expressionism. In the post-WWII era, artists like Joseph Beuys explored German identity and used performance art to promote social change. Gerhard Richter and Sigmar Polke reacted against capitalist realism. Neo-expressionism emerged in the 1970s-80s with artists like Baselitz, Immendorff, and Polke. Younger artists like Neo Rauch and the Leipzig School reference German art history while creating mythological narratives.
Henri Cartier-Bresson was a renowned French photographer and filmmaker born in 1908. He is considered a master of candid street photography and helped establish the genre of photojournalism. Cartier-Bresson was known for his ability to capture the decisive moment using his Leica camera. Some of his most famous photos were taken in cities around the world in the 1940s-1970s, documenting people and events in a documentary style. He helped found the photo agency Magnum Photos and had a significant influence on the art of photography.
Henri Cartier-Bresson was a famous French photographer known as "the father of modern photojournalism." He helped develop street photography and was influenced by surrealist art. After studying painting, he became frustrated and switched to photography. Notable photos include "Hyères" from 1932 and landscapes from Mexico and France that emphasize contrast through black and white film.
René Magritte was a Belgian surrealist artist born in 1898 in Lessines, Belgium and died in 1967 in Brussels. He began drawing lessons at age 12 and his early works were impressionistic and cubist in style. His painting "The Treachery of Images" from 1929, which shows a pipe with the words "Ceci n'est pas une pipe" is perhaps his most famous work. The document then discusses his 1952 painting "Personal Values" which is in the style of surrealism and housed at the SFMOMA.
Photography originated from the camera obscura, which was a darkened room or box with a small hole that projected an inverted image on the opposite wall. Over time, the camera obscura shrank in size and lenses were added to focus images. Two main photographic processes emerged in the 19th century - the daguerreotype invented by Daguerre and Niépce, which produced sharp detailed images on silver-coated plates, and the calotype process invented by Talbot which allowed for negatives and multiple prints. Entrepreneurs like Nadar and Disdéri popularized portraiture studios and new formats like cartes-de-visite. The development of photography influenced painting as Impressionists captured light
Pointillism is a style of art using small dots of pure color that are applied in patterns to form an image. The French artist Georges Seurat founded the Pointillism movement in the 1880s, though critics later named it Pointillism. Seurat's most famous work, Sunday Afternoon on the Island of La Grande Jatte, took two years to complete and contains over 3 million dots applied individually. The French artist Paul Signac was also prominent in the Pointillism style and known for his coastal scenes of the French coast.
Pointillism is a painting technique that uses small dots of pure color placed close together to compose the overall image, developed by Georges Seurat and Paul Signac in the 1880s as an offshoot of Impressionism. Some key pointillist works include Seurat's Sunday on the Island of La Grande Jatte from 1884 and Signac's Sunday from 1888-1890, both composed entirely of tiny colored dots.
SEURAT, Georges, Featured Paintings in Detail (1)guimera
Georges Seurat was a French post-Impressionist painter known for developing pointillism and chromoluminarism techniques. His most famous work is A Sunday Afternoon on the Island of La Grande Jatte, painted between 1884-1886, which served to introduce Neo-Impressionism. The painting depicts people relaxing in a suburban park and uses small dots of complementary colors that blend at a distance to create solid forms and luminosity. Seurat's Bathers at Asnières from 1883-1884 was another large and programmatic early work that demonstrated his meticulous preparation process and precise rendering of colors.
The document provides an overview of the four steps of art criticism: description, analysis, interpretation, and judgment. It includes examples of applying these steps to various artworks, such as Hughie Lee-Smith's "The Piper" from 1953 and Vincent Van Gogh's "The Starry Night" from 1889. The steps involve describing visual elements, analyzing use of design principles, interpreting the artist's message, and making a judgment on the work. Pablo Picasso's anti-war painting "Guernica" from 1937 is then presented as an example for the reader to practice applying the description step.
Keld Helmer-Petersen was a Danish photographer known for his abstract, high contrast black and white images from the 1960s. As a teenager, he was inspired by movements like De Stijl and the Bauhaus. He spent a year studying at the Chicago Bauhaus School in the 1960s, where he was inspired by the industrial landscape to create silhouettes. Throughout his career, he experimented with cameraless techniques and moving the camera during long exposures. In the late 1940s, he was an early pioneer of creative color photography, publishing a book of his color images in Copenhagen decades before color photography became an accepted art form.
The document provides an overview of the artists Jasper Johns and Robert Rauschenberg, who are seen as bridging Abstract Expressionism and Pop Art in the 1950s-1960s. It discusses key works by each artist that incorporated everyday objects and images in new ways, challenging traditional notions of what art could be and paving the way for Pop Art. Rauschenberg in particular is seen as undermining the idea of a singular meaning or illusion in art through his combines and erasures.
In this class we make a distinction between form and content (or what in visual culture we often call "subject matter") and begin the process of exploring the language of form.
The document summarizes the Abstract Expressionist movement in American art during the 1950s. It describes how artists such as Pollock, de Kooning, and Rothko rejected traditional techniques and subjects to create large-scale, gestural and abstract works expressing inner experiences. These works emphasized spontaneity, process, and either energetic brushwork or fields of color. The movement played a key role in establishing American art on the global stage.
The document provides historical context for the development of modernist art in the early 20th century. It discusses several key art movements that emerged during this period, including Fauvism, German Expressionism, Cubism, Futurism, Dada, and Precisionism. It also examines how photography began to be viewed as an art form and profiles some notable American artists like Alfred Stieglitz, Man Ray, Stuart Davis, and Aaron Douglas who incorporated European modernist styles into their own work.
Robert Rauschenberg was an influential American artist known for pioneering combine paintings in the 1950s, which incorporated everyday objects with painting. Some key works include Canyon (1959) featuring a painted eagle, and Monogram (1955-1958) with a stuffed goat and tire. Rauschenberg sought to break down boundaries between art forms and challenge definitions of art. He used found objects and screenprinting to create dense, layered works that commented on modern consumer culture and the relationship between art and life.
The document summarizes major developments in art since 1945, including the shift of the art capital from Europe to New York after WWII, the rise of Abstract Expressionism and its focus on emotional intensity and self-expression, Color Field painting, and the emergence of Minimalism and conceptual art in the 1960s which emphasized objects and ideas over illusionism. It also discusses the influence of pop art and artists like Andy Warhol who incorporated popular culture imagery and mass production techniques.
The document provides historical context for the development of modernist art in the early 20th century. Key events like World War I, advances in science, and the rise of ideologies like Marxism and nationalism led artists to reject observational naturalism. Movements like Expressionism, Cubism, Futurism, Dada, and early abstract painting emerged as artists sought new ways to express themselves and make sense of a changing world. The Armory Show in 1913 introduced modern European art to American audiences and influenced the development of modern photography as an art form.
This document discusses art in the 1960s and provides examples of different art movements that emerged during this period. It introduces abstract and representational art and shows works by artists like Jackson Pollock, Frantisek Kupka, and Robert Rauschenberg to illustrate these concepts. The text then summarizes some 1960s art movements like Pop Art, Minimalism, Conceptualism, and Performance Art that questioned notions of reality and engaged audiences in new ways. Examples of works by artists such as Roy Lichtenstein, Andy Warhol, Carl Andre, and Christo demonstrate these diverse 1960s approaches to art making.
The document provides information about abstract expressionist artists Jackson Pollock and Willem de Kooning. It discusses Pollock's development of his signature "drip and splash" technique in the late 1940s. It also examines de Kooning's gestural style and his controversial "Woman" series from the early 1950s that confronted stereotypes of female representation. The document analyzes key works from both artists' careers through the lens of their experimental techniques and subject matters.
The document provides an overview of post-World War II art movements in New York City, including Abstract Expressionism and Modernist Sculpture. It discusses key artists like Jackson Pollock, Willem de Kooning, Mark Rothko, Barnett Newman, Helen Frankenthaler, Constantin Brancusi, Henry Moore, Alexander Calder, and David Smith. It describes the emergence of Abstract Expressionist styles like Action Painting and Color Field Painting in New York and how they pushed painting in new directions by emphasizing gesture, scale, and flatness over illusion.
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 ...
Mark Rothko and Barnett Newman were influential 20th century abstract expressionist painters known for their use of color and exploration of spiritual themes. Rothko began experimenting with color field paintings in the 1940s-50s, focusing on large areas of color and eliminating figurative elements. Newman began creating minimalist works featuring blocks of intense color separated by thin lines in the 1950s, seeking to express profound emotions and create a quasi-religious experience for viewers. Both artists saw their abstract works as conveying philosophical and spiritual truths beyond mere visual aesthetics.
This document discusses relationships between artists through several examples:
- Philip Glass met painter Chuck Close when working as a plumber for him in NYC in 1967. Close painted many portraits of Glass using the same photo in different styles. In 2005, Glass wrote a musical portrait of Close.
- British sculptors Gilbert Proesch and George Passmore met in 1967 as students and have worked together as a couple and collaboratively ever since.
- Christo and Jeanne-Claude were a married couple who created environmental artworks together, such as wrapping the Reichstag in Berlin. They took separate planes in case one crashed.
- Several assignments are provided for students focusing on relationships between artists, viewers, and different cultures through interventions
The document summarizes key developments in American and international modern art movements between 1950-1955, including Barnett Newman's transition to minimalism, Robert Rauschenberg's Erased de Kooning Drawing, and the Japanese Gutai group that was influenced by Abstract Expressionism. It also discusses Lygia Clark's Neo-Concretism movement in Brazil that engaged participants in experiential artworks.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
The document provides an overview of art history from 1960-1964, focusing on the development of Pop Art and other postmodern movements. It discusses how artists like Roy Lichtenstein, Claes Oldenburg, and Andy Warhol incorporated popular culture imagery and challenged notions of what constituted art. Key concepts examined include Clement Greenberg's theory of modernism, the blurring of boundaries between art and life in works by Allan Kaprow and Fluxus, and Warhol's commentary on mass media and the simulacrum through his repeated depictions of consumer goods and images of death.
The document discusses abstraction in photography from the early 20th century onward. It explores how photographers began experimenting with unusual angles, framing, lighting, and camera techniques to abstract the visual elements in a scene and find new ways of seeing the world. Many photographers were influenced by abstract expressionist painting and explored abstraction through long exposures, photograms, manipulation of focus, and more.
Art As Idea, The Roots Of Conceptual ArtJames Clegg
This document provides an introduction to conceptual art and its roots in earlier avant-garde movements like Dada, Situationism, and Happenings. It discusses how artists like Yves Klein, Piero Manzoni, and Robert Rauschenberg began treating ideas as works of art. Key figures in conceptual art included Sol LeWitt, On Kawara, Joseph Kosuth, and groups like Art & Language who took ideas and language as their primary artistic medium. The document traces the philosophical influences on conceptual art from thinkers like Henri Lefebvre and situates major conceptual works in historical context.
Dan Graham/Jeff Wall: Children's Pavilion, 1986-89Thomas Dreher
This chain of illustrations is made for the readers of the article "Dan Graham: Sculptural Models as Bridgeable
Historical Metaphors" (p.19f.). URL: http://dreher.netzliteratur.net/9_KontextKunst_Graham_Modelle.pdf
Cybernetics and the Pioneers of Computer ArtThomas Dreher
Lecture on "Cybernetics and the Pioneers of Computer Art" (Sprengel Museum Hannover, 16th October 2016):
In German: URL: http://dreher.netzliteratur.net/4_Medienkunst_Kybernetik.html
In English: URL: http://dreher.netzliteratur.net/4_Medienkunst_Kybernetike.html
Wiener Aktionismus und Aktionstheater in MünchenThomas Dreher
The Power Point Presentation of the lecture "Vienna Actionism and Action Theater in Munich", Akademie der Bildenden Künste München, 26th January 2015: URL: http://iasl.uni-muenchen.de/discuss/lisforen/dreheraktion.html
History of Computer Art VI, Music Videos and DemosceneThomas Dreher
This document provides an overview of the history of computer art in music videos and the demoscene from the 1970s-1980s. It showcases early examples of music videos that utilized computer animation and graphics systems to create visuals for songs. This includes some of the first music videos to incorporate 3D computer animation. It also highlights productions from the demoscene, which created impressive real-time graphics and coding displays for computers like the Commodore 64 and Amiga. A bibliography is included to provide more context for the sources cited in the captions.
History of Computer Art V, Computer AnimationThomas Dreher
This document provides an overview of the history of computer animation from the 1960s through the 1990s. It summarizes key pioneering works from researchers like Sutherland, Csuri, and Fetter who created some of the first computer animated films and drawings. It also highlights how computer animation was used in early movies from Westworld to Star Wars to Tron. The document features screenshots and images from these early computer animated works and films to illustrate the evolution of the field from basic 2D animations to 3D modeling and rendering techniques.
History of Computer Art IV, Video ToolsThomas Dreher
Illustrations of an elder Version of the "History of Computer Art",
chap. IV.1, URL: http://iasl.uni-muenchen.de/links/GCA-IV.1e.html
Updated slide show with more early video tools: URL: http://iasl.uni-muenchen.de/links/GCA%20IV%20Video%20Tools.pdf
Illustrations of the "History of Computer Art",
chap. II.1, URL: http://iasl.uni-muenchen.de/links/GCA-II.1e.html
chap. II.2, URL: http://iasl.uni-muenchen.de/links/GCA-II.2e.html
This is the Power Point Presentation of the lecture "Aktionstheater als Provokation: groteske Körperkonzeption im Wiener Aktionismus", Staatsgalerie Stuttgart 2009, URL: http://dreher.netzliteratur.net/2_Performance_Aktionismus.html
Rethinking Kållered │ From Big Box to a Reuse Hub: A Transformation Journey ...SirmaDuztepeliler
"Rethinking Kållered │ From Big Box to a Reuse Hub: A Transformation Journey Toward Sustainability"
The booklet of my master’s thesis at the Department of Architecture and Civil Engineering at Chalmers University of Technology. (Gothenburg, Sweden)
This thesis explores the transformation of the vacated (2023) IKEA store in Kållered, Sweden, into a "Reuse Hub" addressing various user types. The project aims to create a model for circular and sustainable economic practices that promote resource efficiency, waste reduction, and a shift in societal overconsumption patterns.
Reuse, though crucial in the circular economy, is one of the least studied areas. Most materials with reuse potential, especially in the construction sector, are recycled (downcycled), causing a greater loss of resources and energy. My project addresses barriers to reuse, such as difficult access to materials, storage, and logistics issues.
Aims:
• Enhancing Access to Reclaimed Materials: Creating a hub for reclaimed construction materials for both institutional and individual needs.
• Promoting Circular Economy: Showcasing the potential and variety of reusable materials and how they can drive a circular economy.
• Fostering Community Engagement: Developing spaces for social interaction around reuse-focused stores and workshops.
• Raising Awareness: Transforming a former consumerist symbol into a center for circular practices.
Highlights:
• The project emphasizes cross-sector collaboration with producers and wholesalers to repurpose surplus materials before they enter the recycling phase.
• This project can serve as a prototype for reusing many idle commercial buildings in different scales and sizes.
• The findings indicate that transforming large vacant properties can support sustainable practices and present an economically attractive business model with high social returns at the same time.
• It highlights the potential of how sustainable practices in the construction sector can drive societal change.
RPWORLD offers custom injection molding service to help customers develop products ramping up from prototypeing to end-use production. We can deliver your on-demand parts in as fast as 7 days.
Best Digital Marketing Strategy Build Your Online Presence 2024.pptxpavankumarpayexelsol
This presentation provides a comprehensive guide to the best digital marketing strategies for 2024, focusing on enhancing your online presence. Key topics include understanding and targeting your audience, building a user-friendly and mobile-responsive website, leveraging the power of social media platforms, optimizing content for search engines, and using email marketing to foster direct engagement. By adopting these strategies, you can increase brand visibility, drive traffic, generate leads, and ultimately boost sales, ensuring your business thrives in the competitive digital landscape.
1. Conceptual Art and Software Art:
Notations, Algorithms and Codes
Literature and Current:
Code Interface Concept
Literaturhaus Stuttgart, 11/11/2005
Thomas Dreher
http://dreher.netzliteratur.net
2. Concepts:
• verbal instructions
• Instructions with algorithmic
disposition
• machine-readable notations (with
algorithms in programming
languages)
2
3. Tristan Tzara: Dadaist Poem, 1920
To make a Dadaist poem:
Take a newspaper.
Take a pair of scissors.
Choose an article as long as you are planning to make your poem. Cut out the
article.
Then cut out each of the words that make up this article and put them in a bag.
Shake it gently.
Then take out the scraps one after the other in the order in which they left the
bag.
Copy conscientiously.
The poem will be like you.
And here you are a writer, infinitely original and endowed with a sensibility that is
charming though beyond the understanding of the vulgar.
Florian Cramer, Perl CGI
Adaption, URL: http://userpage.fu-
berlin.de/~cantsin/permutations/tza
ra/poeme_dadaiste.cgi
3
4. Man Ray: Object To Be Destroyed, 1932
• Cut out the eye from a photograph of one who has been loved but is not seen
anymore. Attach the eye to the pendulum of a metronome and regulate the
weight to suit the tempo desired. Keep going to the limit of endurance. With a
hammer well-aimed, try to destroy the whole with a single blow.
Print: This Quarter, Vol.5/
No.1, September 1932, p.55.
The verbal instruction
appears in print below the
illustration of the drawing
replica with the title
Ink on paper, 1932
“Indestructible Object“,
25,4 x 15,2 cm,
1958, photo: Lee Miller´s
backside: verbal instruction
eye
4
6. George Brecht: Word Event, 1961
Event card, source: George Brecht:
Water Yam, box with event cards,
Fluxus Edition, since 1963
6
7. La Monte Young: Composition 1960 #3 Tony Conrad: Concept Art, 1961
Announce to the audience when Sum. 1961
the piece will begin and end if
to perform this piece
there is a limit on duration. It
may be of any duration. do not perform it.
Than announce that everyone this piece is its name.
may do whatever he wishes This is the piece that
for the duration of the
composition. is any piece.
5.14.60 Watch smoke.
Source: Jackson Mac Low/La Monte Young: An Source: George Maciunas: Diagram of
Anthology. New York 1963, unpaginated. Historical Development of Fluxus and
Other...Art Forms (incomplete), offset, 2
7
sheets of paper, 1973
8. Conceptual Performance
4 aspects:
• The written planning liberated from conventions of art media and
notations.
• The highlighting of the relation planning - realization prompted
the problematization of the execution as a realization of actions or
objects.
• The relation notation - operation of observing is demonstrated
on the one hand parallel to possible realizations as actions or objects
and on the other hand as a substitute of these realizations: Notations
can be realizable in no other way than as operations of observing.
• Texts of and as works instruct to operations of observing and describe
with it procedures of thinking.
8
9. Joseph Kosuth: The Seventh Investigation, 1968-71 Victor Burgin: All Criteria, 1970
(Art as Idea as Idea), Context B: Public-General, Chinatown, New York 1969. Print on 2 sheets of paper, each 30 x 21 cm,
Photo: Shunk-Kender, New York Tate Gallery, London
9
10. Art & LanguageNY: Blurting in A & L, 1973
10
Blurting in A & L: an index of blurts and their concatenation (the Handbook), New York/Halifax 1973, p.58s.
11. Conceptual Performance
5 aspects:
• The written planning liberated from conventions of art media and
notations.
• The highlighting of the relation planning - realization prompted the
problematization of the execution as a realization of actions or objects.
• The relation notation - operation of observing is demonstrated on the
one hand parallel to possible realizations as actions or objects and on
the other hand as a substitute of these realizations: Notations can be
realizable in no other way than as operations of observing.
• Texts of and as works instruct to operations of observing and describe
with it procedures of thinking.
• As “meta-art“ the text of a work thematizes the problems of a non-
normative self definition of art.
11
12. Mel Bochner: 36 Photographs and 12 Diagrams, 1966
36 gelatin silver photographs and 12 pen-and-ink 12
drawings mounted on board; each panel 8 x 8 inches
13. Sol LeWitt: Serial Project # 1, 1966
The sets of nine are placed in four groups. Each
The sets of nine are placed in four group com-prises
variations on open or closed forms.
closed inside open inside
closed outside open outside
open outside closed inside
closed outside open outside
Aspen no. 5 + 6, 1966. URL: Installation of part B in "Minimal Future“, MoCA, Los Angeles, 2004. URL:
http://www.ubu.com/aspen/aspen5and6 http://artscenecal.com/ArtistsFiles/LewittS/LewittSFile/LewittSPics/
/serialProject.html SLewitt3.html 13
14. Sol LeWitt: Drawing Series 1968 (Fours)
Drawing Series—Composite, Part I–IV, #1– Drawing Series I, II, III, IIII, index for 24 pages, “simple“ version,
24, A+B, 1969, version with “simple“ and in: Seth Siegelaub/Jack Wendler: Xerox Book. New York 1968,
“superimposed“ basic elements, 1 of 192 unpaginated (Contribution with 25 copied pages)
permutations, black pencil on walls, Dia Art
Foundation, Beacon/N.Y. Source: URL:
http://www.diabeacon.org/exhibs_b/ Drawing Series 1968 (Fours), in: Studio International, April 1969,
lewitt/index.html p.189 (article with explications of the series´ rules)
14
15. LeWitt: Locations of Lines and Geometric Figures, 1973-76
Above: The Location of a Red Parallelogram, a Black Not-Straight Line, a
Blue Triangle, a Red Straight Line, a Yellow Arc, and a Yellow Rectangle,
drawing, colored ink and pencil on paper, 1/9/1976
Left: Four Wall Drawings, 11/13/1973, collection Annick and Anton Herbert,
Gent
15
16. Seeing-Reading
In Conceptual Art a spectre can be differentiated from
interpenetrating processes of `seeing´ and `reading´ to
processes of reflexive reading:
• from `seeing-reading´ (Bochner, LeWitt)
over
• `reading´ (Lawrence Weiner) to
L. Weiner: Statement #237,
1971, installation, location:
• the thematization of reading processes 26, rue Beaubourg, Paris
in `reading-reading´ (Victor Burgin,
Joseph Kosuth) and
• its reflexion in `reading-reading-reading´
.
16
17. Rob Myers: The Cybernetic Art
Nobody Wrote, 2003-4
Above: Flash version, 2003, URL:
http://www.robmyers.org/art/cybernetic/index.html.
Right: LISP version, 2004, GNU GPL, beginning and end of the code 17
in: rob-art, URL:
http://sourceforge.net/project/showfiles.php?group_id=108602
18. Harold Hurrell: Harold Hurrell (Art &
Fluidic Device, Language): The Cybernetic Art
1968 Work that Nobody Broke, 1969
Art & Language Press, Coventry/`Prelum´
Churchill, Oxford 1968. Above: first page,
detail. Midst: second page, detail. Below:
third page (computer print). Lithographic print, 1969 18
19. Hans Haacke: Photo-Electric
Viewer-Programmed
Coordinate System,1968
Oberservers interrupt two rows with infra-red light
beams installed in right angle and constituting a
grid in the environment. Light bulbs respond to
the actions of observers. 14 infra-red light beams,
14 photo-electric cells, 28 white lighted bulbs,
room: 305 x 345 x 345 cm, 1966, realization 1968.
19
21. Casey Reas: {Software} Sol LeWitt, Wall-
Structures, 2004 Drawing #106, 1971
Arcs from the midpoints of two sides of the wall (first
Wall Drawing # 106. URL: http:// version: Arcs, from two sides of the wall, 3 cm apart.).
artport.whitney.org/commissions/ Pencil. Execution: Mel Bochner, Sol LeWitt, Bonomo 21
softwarestructures/_106_response/index.html Residence, Spoleto, Augustus 1971.
22. Casey Reas: {Software} Structures, 2004
Structure: Defining relationships between elements:
# 003: A surface filled with one hundred medium to small
sized circles. Each circle has a different size and direction,
but moves at the same slow rate. Display:
A. The instantaneous intersections of the circles
B. The aggregate intersections of the circles
Left: Implementation: Casey Reas, Structure #003B, Processing
Below: Interpretation: Jared Turbell, Structure #003B, Processing
22
23. Guy Debord: Psychogeography
«Relevé de tous les trajets effectués en un an Le Bauhaus Imaginiste (ed.): Guide
par une étudiante habitant le XVIe pschogéographique de Paris, 1957
Arrondissement. Publié par Chombart de
Lauwe dans «Paris et l´agglomération
parisienne». In: Internationale Situationniste.
Numéro 1. Juin 1958, p.28.
23
24. George Brecht: Direction, o.J. Social Fiction: .walk, 2001
Quelle: URL: http://www.socialfiction.org/
psychogeography/dummies.html
// Classic.walk
Repeat
{
1 st street left
2 nd street right
2 nd street left
}
“...put up pointing hands all over Nice...in funny
& strange places like public toilets, inside
tunnels very high up, bottom of fountains -
always hands coming towards these places OK?“ “This .walk example shows the classic generative
George Maciunas to Tomas Schmit, midst of psychogeographical algorithm, that urban
July 1963 (Source: Hendricks, Jon: Fluxus exploration haiku, written down like a pseudo-24
Codex. New York 1988, p.190) computer language.“
25. Curt Cloninger: Psychocyberographic Memoirs > Let
Your Fingers Do the Drifting, 2005
Rhizome, 7/30/2005. URL:
http://rhizome.org/thread.rhiz?thread=18111
&page=1#34621
25
26. Algorithm
In mathematics and informatics, the term “algorithm”
designates an instruction which describes a task precise
and completely in several steps. The computer scientist
Paul E. Black defines an algorithm as “a computable set
of steps to achieve a desired result.”
Therefore an algorithm is a precise stepwise structure of
a repeatable instruction but its result is not so definitely
predeterminated as definitions in natural sciences
prescribe it.
26
27. Quine Joseph Kosuth
:quine: A program that generates a copy of
its own source text as its complete output.
Gary P. Thompson II
Quine in LISP and Scheme, author:
John McCarthy, Carolyn Talcott:
((lambda (x)
(list x (list (quote quote) x)))
(quote
(lambda (x)
(list x (list (quote quote) x)))))
Source: Gary P. Thompson II: The Quine Page. Self-Described and Self-Defined, neon letters, 1965.
URL:http://www.nyx.net/ ~gthompso/quine.htm Cincinnati Art Museum
27
28. Alex McLean: forkbomb, 2001
0111100111111010111011111110101000111110111111111101111101010000
1 #!/usr/bin/perl -w 0111011111101110111111111111111011011011101101111001110001111011
2 use strict; 0001110101110011011011110111111010101011111011111111111111111001
111111111111111100100000000111010000010001001111000011111001111
3 die "Please do not run this script without reading the 1111111111111101101111110010001111111111111111110100010010100101
documentation" if not @ARGV; 000101000101000010111011111110111111111111111110110101101111101
0101111111111011110111111110100001001111011111100111000010101111
4 my $strength = $ARGV[0] + 1; 1101001110101000001111111111111111111111000111011001111111111011
5 while (not fork) { 01001010001000010110100101111001101000100111001010110000101111
100100001001011101101111110001111111011101110100100011010101001
6 exit unless --$strength; 11110111110000001000111111110001011000001110100100110110100010
7 print "0"; 000110111110011100111111010011000011111111111100100001011010001
111001101101101111100111111110001001011111111111110001001001000
8 twist: while (fork) { 00001001101000111010010000000100000111000001000101110010000111
9 exit unless --$strength; 10000001100100010111010111101101111011000011100101011000100101
0000000101000001001000000000000001000000001100001111110000001
10 print "1"; 0000000000000000001000000011111111111111111111111111111111111110
11 } 0000000000000000000000010110000000000000000000000000000000000
0000000011000000000000000000000000000000000000000000000000000
12 } 0111101111111111111111111111111111111111111110000000000000000000
13 goto 'twist' if --$strength; 0000000000000000000000000000000000000000000000000000010000000
00000000001111111111101111111000000000000000000000000000000000
0000000000000000000000000000
Program code in Perl [the numbers of lines are not
part of the code]. In: Matthias Weiß. URL:
http://www.medienkunstnetz.de/werke/forkbomb/. Above: force 7. Below: force 8.
011101101110111101101111001110111011011011111111100111100001111111111110101101101110010111110111011110101110001001011001110001101111011111111111111111
1111111111111101100010011000101001111111110111111111111111111100011100111111111111011111111111110000100010000110011010001110011101111101111111111111111
1111111111111101111110010000000111010000000001100011111000011100000011111111111111111111111111111111111111111111111111111111111100000000000000000000100
00000000011111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111000000000000001000000001111110000000000001000
000000000000000000000000000111111111111111100000000000000000000001000000000000000000000001111111111111111111111111111111111111111111111111111111111111
111111111111111111111111111111111111111111111111111111111111111111111000000000000000011111110000000000000000010000000000001000000000010000000000000000
00000111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111100000001011101111111111111111111111111111
100000000011111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111
111111111111111111111111111111111111111111000000010000001010000000000000000000000000000000010000000000000010000001000000000000000000000000001000000
11111111111111111111111111111111111110000110000000000001000000000000000000000000000000000000000000000000000000000000000000000000000000000000100000
000000000000000000000000000000011111100000000000000000000010001111111000111110000000000000000000000000000000000000000000000000000000000000000000
00000000000000000011100011111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111100000000000000000000000000000000
00000000000000000000000000000000000001111111111111111111111000000000000000001100000111111111110000000000000000000000000000000000000000000000000000
0000000000000000000000000000000000000000000000000000000000000000000000000000000000000000001111111111111111110000000000000000000000000000111111111
11111111111111111111111111111111111111111111000000000001111111111111111011000111000000000000011010000000000001111101110100000000000000000000000000000
0000001111111110100000000000000000000100001000000000000001100000000011000000000001111111110000000000000000000110111110001001100000000000111010011
01100001000001001100111111111111111111111111111111111111110000000000000010000000111111111111111000000000000000000000000000010000111111111110100000000
0000000110000000000000000000000000100000100000000000000000110000000101010000000101010001111111010001111111100000000111000000000100001101100000000
28
0000000111111100000010100000000000000000000000000000000000000
30. Conceptual Performance
The “Conceptual Performance” of the sixties and seventies is renovated by
the following developments of an actual art thematizing instructions and
programming codes:
•1. from the work´s text to the program code as text presentation;
•2. from the verbal concept as an instruction for realizations to the verbal
sketch for realizations in programming languages;
•3. from the verbal concept as an instruction for actions to the strategic
instruction for actions in the dataspace;
• 4. from models for the criticism
of the art world exhibited within
the criticized context and index
systems of Art & Language for the
self documentation of (theories
of) the “theoretical parctice” to
Open Content platforms with
discussions, texts and activistic
tools for a legally and
economically motivated criticism
of the contemporary net and
software conditions (Sourceforge,
EFF OPUS, RTMark, Creative
,
Commons, Copyleft, Illegal Art, Art & Language: Index 01, documenta 5, Kassel 1972 30
ODEM).
31. Lucy Lippard: Dematerialization
Lucy Lippard: Six Years: The dematerialization of the art object from 1966 to 1972. New York 1973, cover and p.43
31
32. Inke Arns: Program Code
Program code is characterised by the fact that here `saying´
coincides with `doing´. Code as an effective speech act is not a
description or a representation of something, but, on the contrary, it
directly affects, and literally sets in motion - or it even `kills´ a
process.
Inke Arns: Read_me, Run_me, Execute_me. Software and its Discontents, or: It´s the Performativity of Code, Stupid. URL:
http://art.runme.org/1107863582-4268-0/arns.pdf
32
33. Frieder Nake: Algorithmic Signs
Frieder Nake´s concept of ”algorithmic signs“ for the use of signs in
computing processes characterizes
first the difference between signs in symbolic interaction (communication,
discourse) and its use in program codes for the navigation of computing
operations, and
second the observer´s operations with this difference by the preparations
for navigation, by the observation of computing operations and in the use of
computing results:
“Software is on the one hand a text, on the other hand a machine. Software is a machine only
as a text, therefore it is a text, who can operate, as if it is itself a machine...Therefore
Software...is a text as a machine and is readable as if it is a scripture...Software shows and
shows not characteristics of machines. It shows these characteristics only in function; beyond
computing it is a descriptive text...By its nature, software is neither the one (text) nor the other
(machines).”
Frieder Nake: Das algorithmische Zeichen. In: Kurt Bauknecht, Wilfried Brauer, Thomas A. Mück (eds.): Informatik 2001: Wirtschaft und
Wissenschaft in der Network Economy – Visionen und Wirklichkeit. Tagungsband der GI/OCG-Jahrestagung, 25th-28th September 2001,
33
University of Vienna, Vol. 2, p.736-742. URL: http://www.agis.informatik.uni-bremen.de/ARCHIV/Publikationen/Algor.ZeichenWienText.pdf
34. Allan McCollum/Louise Lawler: Ideal Settings,
1983/84
Around one hundred objects: wax and shoe polish on cast pigmented Hydrostone, 9 x
9 x 21/4 inches each. Installation with theatrical lighting and sales price projected on
wall, at the Diane Brown Gallery, New York, 1984.
URL: http://home.att.net/~amcnet3/album/idealsettings.html
34
36. Origins of illustrations:
The following notes on the origins of illustrations complete the notes in the captions:
• Foil 4: Hultén, K.G. Pontus: The machine as seen at the end of the mechanical age. MoMA, New
York 1968, p.153.
• Foil 9: Kosuth: Corris, Michael (ed.): Conceptual Art. Theory, Myth and Practice. Cambridge/UK
2003, S. 241; Burgin: Osborne, Peter (ed.): Conceptual Art. New York 2002, p.126.
• Foil 12: Bochner, Mel: Thought Made Visible 1966-1973. Cat. exhib. Yale University Art Gallery,
New Haven 1995, p.14 (C 24).
• Foil 15: left: Fuchs, R.H./Debbaut, Jan: L´Architecte est absent. Works from the Collection of
Annick and Anton Herbert. Cat. exhib. Stedelijk Van Abbemuseum. Eindhoven 1984, p.36; right:
LeWitt, Sol: Drawings 1958-1992. Cat. exhib. Haags Gemeentemuseum. Den Haag 1992,
unpaginated, Nr.181.
• Foil 16: Website Ghislain Mollet-Viéville: Art Minimal & Conceptuel. URL:
http://www.conceptual-art.net/lweiner.html (11/14/2005).
• Foil 18: left: Dreher, Thomas: Konzeptuelle Kunst in Amerika und England zwischen 1963 und
1976. Frankfurt am Main a.o. 1992, unpaginated, ill.19; right: Harrison, Charles: Essays on Art &
Language. Oxford 1991, p.58, pl.39.
• Foil 19: Haacke, Hans: Werkmonographie. Köln 1972, unpaginated, ill.31.
• Foil 21: right: Legg, Alicia (ed.): Sol LeWitt. Cat. exhib. The Museum of Modern Art. New York
1978, p.122.
• Foil 27: right: Website Chris Glass. URL: http://www.chrisglass.com/photos/artmuseum/art.html
(11/14/2005).
• Foil 30: Website Thomas Dreher: Intermedia Art. URL: http://dreher.netzliteratur.net/
3_Konzeptkunst_ArtLang_B2.html (11/14/2005). Photo: Charles Harrison.
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