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 Impressionism
The origin of artist’s revolution
• The advent of the Second Empire
(1852-70) was to mark a rupture in
the artistic history of the XIXth
century in France, between official
art on one side, and independent
art on the other side.
• The cultural policy of Napoleon !
encenses an insipid academic
art (the so called "pompier" style),
covered with honors by the political
power and ruling over the Academy "
of Fine Arts, and disparages
a realistic art.
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              1863 (

 





A woman ironing
Edgar DEGAS, 1869
Neue Pinakothek
Munich, Germany
 1915-1918 First World War
• DADA / The Non-art Movement (1916-23)

• Dada was, officially, not a movement, its artists not artists and its art not art.

• Dada was a literary and artistic movement born in Europe at a time when
the horror of World War I was being played out in what amounted to
citizens'front yards.

• Due to the war, a number of artists, writers and intellectuals - notably of

French and German nationality - found themselves congregating in the
refuge that Zurich (in neutral Switzerland) offered.

• Far from merely feeling relief at their respective escapes, this bunch was
pretty ticked off that modern European society would allow the war to have
happened. They were so angry, in fact, that they undertook the time-
honored artistic tradition of protesting.
Alfred Stieglitz American, 1864-1946


 
((1 8 8 7 1 9 6 8    
    

 

Fountain, photograph of sculpture by            ( (            )
)
Marcel Duchamp, 1917

        

Gelatin silver print 9 ¼ x 7
23.5 x 17.7 cm

      ! 
" #
Succession Marcel Duchamp, Villiers
sous Grez, France
 Surrealism
• Surrealism is a cultural movement and artistic style that was founded in
1924 by Andre Breton. Surrealism style uses visual imagery from the
subconscious mind to create art without the intention of logical
comprehensibility.

• The movement was begun primarily in Europe, centered in Paris, and

attracted many of the members of the Dada community. Influenced by
the psychoanalytical work of Freud and Jung, there are similarities
between the Surrealist movement and the Symbolist movement of the
late 19th century.

• Some of the greatest artists of the 20th century became involved in the
Surrealist movement, and the group included Giorgio de Chirico, Man
Ray, Ren Magritte, and many others.

• The Surrealist movement eventually spread across the globe, and has
influenced artistic endeavors from painting and sculpture to pop music
and film directing.

• The greatest known Surrealist artist is the world famous Salvador Dali.
Luis Buñuel and Salvador Dalí'
s Un chien andalou (1929)
 The Persistence of Memory
Salvador Dalí (Spanish, 1904-1989), 1931. Oil on canvas, 9 1/2 x 13" (24.1 x 33 cm).
Given anonymously. © 2010 Salvador Dalí, Gala-Salvador Dalí Foundation / Artists Rights
Society (ARS), New York
 The Menaced Assassin
René Magritte (Belgian, 1898-1967),1927. Oil on canvas, 59 1/4" x 6'4 7/8"
(150.4 x 195.2 cm). Kay Sage Tanguy Fund. © 2010 C. Herscovici, Brussels / Artists Rights
Society (ARS), New York
1939 - 1945 : Second World War

1945 First Atomic Bomb. The

nuclear era has started

http www cfo doe gov me70 m

anhattan hiroshima htm
• The Abstract Expressionists sought to
express their subconscious through their art.
They also shared an interest in Jung' s ideas
on myth, ritual and memory (inspired by
exhibitions of African and American Indian art
in 1935 and 1941 respectively) and
conceived an almost Romantic view of the
artist, seeing their painting as a way of life
and themselves as disillusioned
commentators on contemporary society after
the Depression and the Second World War.
& !'() !'
>' % & 51;
? 1 ;@ 3(&;;@ !, !53 5 ! .
) 2' ' &2 % 8
Jackson Pollock, No. 5, 1948,
oil on fiberboard,
244 x 122 cm. private collection.
• Woman, I
• Willem de
Kooning (American,
born the Netherlands.
1904-1997)
• 1950-52. Oil on canvas,
6'3 7/8" x 58" (192.7 x
147.3 cm). Purchase. ©
2010 The Willem de
Kooning Foundation /
Artists Rights Society
(ARS), New York
 Flag, Jasper Johns (American, born 1930),1954-55 (dated on reverse 1954).
Encaustic, oil, and collage on fabric mounted on plywood, three panels, 42 1/4 x 60
5/8" (107.3 x 153.8 cm). Gift of Philip Johnson in honor of Alfred H. Barr, Jr. © 2011
Jasper Johns / Licensed by VAGA, New York, NY
• Abstract Expressionism a weapon of cold war, Eva Crockroft, Art forum,
June 1974
• https://www.msu.edu/course/ha/240/evacockroft.pdf
 Pop Art

• Lawrence Alloway (1926–1990), the critic who first

used the term in print in 1958, conceived of Pop art
as the lower end of a popular-art to fine-art
continuum, encompassing such forms as
advertising, science-fiction illustration and
automobile styling.

• Richard Hamilton defined Pop in 1957 as: ‘Popular

(designed for a mass audience); Transient (short
term solution); Expendable (easily forgotten); Low
Cost; Mass Produced; Young (aimed at Youth);
Witty; Sexy; Gimmicky; Glamorous; and Big
Business’.
Interior, Richard Hamilton (British, born 1922) 1964 (published 1965).
Screenprint, Composition: 19 5/16 x 25 1/8" (49.1 x 63.8 cm)
• American Pop art emerged suddenly in the early 1960s and was in
general characterized by a stark and emblematic presentation that
contrasted with the narrative and analytical tendencies of its British
counterpart. At its most rigorous, American Pop art insisted on a
direct relationship between its use of the imagery of mass
production and its adoption of modern technological procedures.
• Whereas British Pop art often celebrated or satirized consumer
culture, American Pop artists tended to have a more ambiguous
attitude towards their subject-matter, nowhere more so than in the
mixture of glamour and pathos that characterized Andy Warhol’s
silkscreened icons of Hollywood film stars, as in The Marilyn
Diptych (1962; London,Tate).
 • Campbell's Soup Cans
• Andy Warhol (American, 1928-1987)
• 1962. Synthetic polymer paint on
thirty-two canvases, Each canvas 20 x
16" (50.8 x 40.6 cm). Partial gift of
Irving Blum
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• An Antiwar Movement Timeline %* %

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• http library thinkquest org 27942 timeline timeline htm

• Social Sculpture

• Every human being is an artist, a freedom

being, called to participate in transforming
and reshaping the conditions, thinking and
structures that shape and inform our lives
Joseph Beuys
• I Like America and America
Likes Me 1974
 7,000 oak trees, Kassel,
Germany.
• This project exemplified the
idea that a social sculpture
was defined as
interdisciplinary and
participatory.
 Nam June Paik

TV Buddha 1974 Closed Circuit video installation with bronze sculpture

La Jetee by Chris Marker, 1962, 28 min, France

• In a devastated Paris in
the aftermath of WWIII,
The few surviving humans
begin researching time
travel, hoping to send
someone back to the pre
war world for food,
supplies and maybe a
solution to their dire
position One man is
haunted by a vague
childhood memory that will
prove fateful Written
by Marty Cassady, edited
by Tsee Lee Edited again
by Hay;ey Dinnison
Napalm, Leon Golub 1969, Paintings, Acrylic on linen
Nancy Spero (USA). Helicopter Victims, Astronaut. wallpaper
 Peace Message
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The Others
Sherrie Levine

After Walker Evans: 2, 1981

Sherrie Levine (American, born 1947)
Gelatin silver print
3 3/4 x 5 1/16 in. (9.6 x 12.8 cm)
 Copyright © 1989, 1995 by Guerrilla Girls

HOW WOMEN GET MAXIMUM EXPOSURE IN ART MUSEUMS

Asked to design a billboard for the Public Art Fund in New York, we welcomed the chance to
do something that would appeal to a general audience One Sunday morning we conducted a
weenie count at the Metropolitan Museum of Art in New York, comparing the number of nude
males to nude females in the artworks on display The results were very revealing
The PAF said our design wasn't clear enough ???? and rejected it We then rented advertising
space on NYC buses and ran it ourselves, until the bus company canceled our lease, saying
that the image, based on Ingres' famous Odalisque, was too suggestive and that the figure
appeared to have more than a fan in her hand
 2 ' H '
2 ' H ' Morimura Yasumasa
2 9 2 9
? 55 Monna Lisa in Pregnancy, %+ 55
& E &+ 1998 & E &+ 8
8 - from Self Portrait as Art - E
History
Shirin Neshat, TURBULENT, 1998
Rirkrit Tiravanija
 Araya Rasjamroensook
the two planet series, video, 37 mins, 2008
Apichatpong Weerasethakul
Vong Phaopanit, What Falls to the Ground but Cannot be Eaten , 1991, London
Rithy Pahn, Cambodia/ France
June Nguyen Hatsushiba, Happy New Year Memorial Project Vietnam II, 2003
Persistence of Memory #11 by Dinh Q. Le
 Dinh Q. Lê, Damaged Gene, 1998
Mixed media inclfigurines, plastic toys, pacifiers, video, Height of tallest object: 4 1/2 in./ 11.4 cm
Courtesy the artist; Shoshana Wayne Gallery, New York; P.P.O.W Gallery, New York; and Elizabeth
Leach Gallery, Portland All Rights Reserved
• DINH Q LÊ
Lotusland detail 1999
Purchased 2006

• The Queensland
Government’s Gallery
of Modern Art
Acquisitions Fund
Collection
Queensland Art
Gallery