5. 1960s The nation was in accelerated cultural, social, and political transition. Painting moved from the deeply personal (last week) to the impersonal Issues of “High versus Low” were raised. Multiple voices clamored for equalities and freedoms: women, blacks, etc.
6. Artists: Ad Reinhardt Ellsworth Kelly Morris Louis Cy Twombly Agnes Martin Robert Rauschenberg Claes Oldenberg Andy Warhol
25. Helen Frankenthaler “ There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.”
26. Helen Helen Frankenthaler (1952 ) Mountains and Sea HER FIRST DRIP PAINTING
28. Helen Helen Frankenthaler (1973 ) Nature Abhors a Vacuum
29. Helen Helen Frankenthaler (1964 ) Magic Carpet
30. Morris Louis “ He owes his reputation to the critic Clement Greenberg, who was also his coach. It is not really true, as has often been said, that Greenberg told Louis what to paint, though he probably had more influence over this lonely, gifted and insecure man than any American critic has had over any other artist.” - Critic Robert Hughes Read more: http://www.time.com/time/magazine/article/0,9171,962782,00.html#ixzz0YwAjOkQF
36. Cy Twombly On graffiti-- ”Graffiti is linear and it's done with a pencil, and it's like writing on walls. But [in my paintings] it's more lyrical. In those beautiful early paintings like Academy, it's graffiti but it's something else, too. I don't know how people react, but the feeling is more complicated, more elaborate. Graffiti is usually a protest - ink on walls - or has a reason for being naughty or aggressive.” Read a rare interview of this artist: http://www.guardian.co.uk/artanddesign/2008/jun/03/art1
37. Cy Twombly at Houston Exhibition see Gagosian: http://www.gagosian.com
49. Cy Twombly at Black Mountain College, North Carolina in the 50s. 'It was the first time I'd been in an atmosphere of artsy-ness'
50. Agnes Martin “ Art is the concrete representation of our most subtle feelings.” Eight minute Interview of this artist: http://www.youtube.com/watch?v=_-JfYjmo5OA
68. This pair of photo-booth strips is one of Warhol's earliest experiments with photography , a medium that increasingly dominated his art during his peak years of innovation from 1962 to 1968. For Warhol, the photo booth represented a quintessentially modern intersection of mass entertainment and private self-contemplation. In these little curtained theaters, the sitter could adopt a succession of different roles, each captured in a single frame; the resulting strip of four poses resembled a snippet of film footage. The serial, mechanical nature of the strips provided Warhol with an ideal model for his aesthetic of passivity, detachment, and instant celebrity. Here, Warhol has adopted the surly, ultracool persona of movie stars such as Marlon Brando and James Dean, icons of the youth culture that he idolized.
70. As art historian Marco Livingstone has stressed, Pop Art was never a circumscribed movement with membership and manifestos. Rather, it was a sensibility emergent in the 1950s and rampant in the 1960s. Andy Warhol (who began his career as a fashion illustrator) had been painting Campbell Soup cans since 1962. Such advertising icons, along with cartoons and billboards, yielded a synthesis of word and image, of art and the everyday. Fashion quickly embraced the spirit of Pop, playing an important role in its dissemination. The paper dresses of 1966–67 were throwaways, open to advertising and the commercial.
72. Rauschenberg: At the same time that Abstract Expressionism began to wane…a disparate group of artists began to explore some of the overlooked implications of action painting—its gestural freedom, chance effects, and urban themes—giving birth to a wide array of strategies epitomized by Robert Rauschenberg's oft-quoted statement that he wanted to act in the gap between art and life. Rauschenberg himself had been making Combines—found objects covered with slashing strokes of paint that blurred the boundaries between high and low—since the mid-1950s, and in the early '60s began transferring photographic images from newspapers directly onto his canvases (via the process of silkscreening) in rebus-like arrangements. In this neo-avant-garde work, artists such as Rauschenberg adapted the shock tactics of World War I-era Dada collagists such as Kurt Schwitters to the new postwar context of American hegemonic power.
85. Claes Oldenburg: Best known for his oversized soft sculptures of food and consumer objects of the Pop art period, Claes Oldenburg began his career staging avant-garde performances, constructing environments, publishing writings, and generally embracing the commerce of everyday life. Printed work has always played a central role in his art, beginning with commercially produced announcements and ephemera for his Happenings, and continuing with traditional printmaking.
88. Pop art's gaze on the universe of commercial products is often deadpan and cool. With Oldenburg, though, it becomes more comically disorienting: sculptures like Giant Soft Fan challenge our acceptance of the everyday world both by rendering hard objects in soft materials, so that they sag and droop, and by greatly inflating their size. (There are also Oldenburg works that make soft objects hard.) The smooth, impersonal vinyl surfaces of Giant Soft Fan are Oldenburg's knowing inversion of the hard-edge aesthetic of the 1960s.
89. Yoko Ono “ The 1960s were about releasing ourselves from conventional society and freeing ourselves.”
90. Yoko Ono in the Venice Biennale, 2009. Work from the 1960s
91.
92.
93.
94.
95.
96.
97.
98.
99.
100.
101.
102. Next Week? Roy Lichtenstein James Rosenquist Jim Dine Larry Rivers Wayne Triebaud Tom Wesselmann Lucas Samaras James Rosenquist George Segal Ed Ruscha Carolee Schneeman Kenneth Noland Robert Morris And more….
Notas do Editor
He studied with Mayer Shapiro
orn in 1928 in Lexington, Virginia, Cy Twombly studied art at the School of the Museum of Fine Arts, Boston (1947–49); the Art Students League, New York (1950–51); and Black Mountain College, North Carolina (1951–52). In the mid 1950s, following travels in Europe and Africa, he emerged as a prominent figure among a group of artists working in New York that included Robert Rauschenberg and Jasper Johns.