1 / 29

The Contemporary Contour (Art After World War II and Contemporary Art)

The Contemporary Contour (Art After World War II and Contemporary Art). The mushroom cloud of the atomic bombing of Nagasaki, Japan, in 1945. Outline Chapter 22. Outline Chapter 22: The Contemporary Contour Chapter 22: The Contemporary Culture Toward a Global Culture Existentialism

tola
Télécharger la présentation

The Contemporary Contour (Art After World War II and Contemporary Art)

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. The Contemporary Contour (Art After World War II and Contemporary Art) The mushroom cloud of the atomic bombing of Nagasaki, Japan, in 1945

  2. Outline Chapter 22 Outline Chapter 22: The Contemporary Contour Chapter 22: The Contemporary Culture Toward a Global Culture Existentialism Painting since 1945 Abstract Expressionism The Return to Representation Contemporary Sculpture Architecture Some Trends in Contemporary Literature A Note on the Postmodern Music since 1945 Avant-Garde Developments The New Minimalists Traditional Approaches to Modern Music Popular Music

  3. Timeline Chapter 22: The Contemporary Contour 1945 World War II ends; Holocaust becomes widely known 1945 Salinger, The Catcher in the Rye c.1925-1972 O'Keeffe, paintings of giant flowers and western themes 1948 Pollock, Number 1 (abstract expressionism) 1952 Beckett, Waiting for Godot 1953 Hopper, Office in a Small City; Night Hawks(1942) 1955 Warhol, Soupcans 1956 Bergman, Wild Strawberries 1958 Miës Van der Rohe and Philip Johnson, Seagram Building, New York 1959 Wright, Guggenheim Museum, New York 1959 Calder, Big Red 1964 Stoppard, Rosencrantz and Guildenstern Are Dead 1977 Renzo Piano and Richard Rogers, Pompidou Center, Paris 1978 Pei, East Wing, National Gallery of Art, Washington 1994 Gehry, American Center, Paris; Guggenheim, Bilbao (1997) Timeline Chapter 22

  4. The World after WWII, Post-Modernism, and The Contemporary Landscape This chapter deals with Western culture after the time of the Second World War. In the postwar period, with Europe in shambles and the Far East still asleep, we confidently felt that the twentieth was the American century; many people, not always admiringly, spoke of the "Coca-Colazation" of the world. From the vantage point of the beginning of the 21st century we now see that, however powerful the United States may be, there now exist other countervailing powers, as the economic power of China readily demonstrates.

  5. The Arts after WWII, Post-Modernism, and The Contemporary Landscape This period has also seen some dramatic shifts in the arts. The modernist temper that prevailed both in literature and in the arts has had its inevitable reaction. The power of the New York School of painting (abstract expressionism/color field painting/minimalism) has been challenged by new art forces, mainly from Europe, that emphasize once again the picture plane and the expressive power of emotion. In literature, the modernist temper exemplified in writers like Eliot, Woolf, and others has now given way to a postmodern sensibility represented in writers who are from Latin America, Japan, and Europe. Increasing attention is being paid to the writers both from Eastern Europe and from Africa.

  6. Questioning and Revising the Underpinnings of Culture Out of the human rights movement of the past decades has arisen a determined effort to affirm the place of women in the world of the arts both by retrieving their overlooked work from the past and by careful attention to those who work today. Similarly, peoples of color, both male and female, have come to the attention of large audiences as the arts democratize. Contemporary debates over the core humanities requirements in universities (Should they restrict themselves to the old "classics" or should they represent many voices and many cultures?) simply reflect the pressures of the culture, which is no longer sure of its older assumptions.

  7. Existentislism, Humanism, Secularism, Relativism No consensus exists on a humanistic worldview. The power of existentialism after the war sprang both from its philosophical ideas and from its adaptability to the arts, especially the literary arts. While the writings of Albert Camus are still read and the plays of Beckett and Ionesco are still performed, they now reflect a settled place in the literary canon with no new single idea providing the power to energize the arts as a whole.

  8. Pluralism(and What is Next?) It may well be that the key word to describe the contemporary situation is pluralism: a diversity of influences, ideas, and movements spawned by an age of instant communication and ever-growing technology. The notion of a global culture argues for a common culture growing out of mutual links. There is some evidence of commonality, but it must be said that in other areas there are regional differences and even antagonisms. What we seem to be seeing in an age when more people buy books, see films, watch television, listen to tapes and CDs, go to plays and concerts than ever before is a situation the Greek philosophers wrote about millennia ago-the curious puzzle about the relationship of unity and diversity in the observable world: We are one, but we are also many.

  9. Hopper, Edward • Hotel Room1931 (150 Kb); • Oil on canvas, • 60 x 65 inches • Office at Night1940; Oil on canvas, 22 1/8 x 25 inches

  10. Georgia O'Keeffe Untitled (Two Pears), 1921 Oil on board, 8 7/8 x 10 in. Bella Donna, 1939 Oil on canvas, 36 1/4 x 30 1/8 in. Black Mesa Landscape, New Mexico /Out Back of Marie’s II, 1930Oil on canvas, 24 1/4 x 36 1/4 in.

  11. Pollock, Jackson The She-Wolf1943 (230 Kb); Oil, gouache, and plaster on canvas, 41 7/8 x 67 in Number 8, 1949 (detail)1949 (280 Kb); Oil, enamel, and aluminum paint on canvas

  12. Franz Kline Lehigh V Span, 1959-1960 60 1/4 in. x 80 in. (153.04 cm x 203.2 cm)oil on canvas

  13. WILLEM DE KOONING Composition1955Oil, enamel, and charcoal on canvas79 1/8 x 69 1/8 inches Woman and Bicycle, 1952-53Oil on canvas, 76 1/2 x 49 in.

  14. Robert Motherwell Elegy to the Spanish Republic No. 110, Easter Day, 1971. Acrylic with pencil and charcoal on canvas, 82 x 114 inches. Solomon R. Guggenheim Museum, Gift

  15. HELEN FRANKENTHALER HELEN FRANKENTHALER b. 1928Viewpoint II, 1979Acrylic on canvas, 81 1/4 X 94 1/2"

  16. Jasper Johns Flag. 1954–55 Encaustic, oil, and collage on fabric mounted on plywood (three panels)42 1/4 x 60 5/8" (107.3 x 154 cm)The Museum of Modern Art, New York

  17. Robert Rauschenberg Robert Rauschenberg. Bed. 1955. Combine painting: oil and pencil on pillow, quilt, and sheet on wood supports, 6' 3 1/4"x 31 1/2" x 8" Robert RauschenbergMalaysian Flower Cave /ROCI MALAYSIA, 1990

  18. Andy Warhol Marilyn, 1964 Campbell's Soup 1, 1968

  19. Roy Lichtenstein Picture and Pitcher, 1977; cast 1978Painted bronze, 95 x 40 x 24 1/2" Vicki, 1964 enamel on steel H.42 x W.42 x D.2 in. Brushstroke, 1965color screenprint on paper 58.4 x 73.6 cm

  20. Philip Pearlstein Two Models on Kilim Rug with Mirror, 1983 acrylic paint on canvas90 x 72 inches

  21. Frank Stella Adelante, 1964 97 1/4 in. x 165 1/2 in. metallic powder in polymer emulsion on canvas Frank StellaJarama II, 1982 Harran II, 1967. Polymer and fluorescent polymer paint on canvas, 120 x 240 inches.

  22. Cornell, Joseph Untitled (Soap Bubble Set)1936 (140 Kb); Construction, 15 3/4 x 14 1/4 x 5 7/16 in Untitled1942; Construction, 13 1/8 x 10 x 3 1/2 in Untitled (Medici Boy)1942-52; Construction, 13 15/16 x 11 3/16 x 3 7/8 in

  23. Alexander Calder Mobile (Mobile), 1941. Painted aluminum, Approx. 84 1/4 inches high. Red Lily Pads, 1956. Painted sheet metal, metal rods, and wire, 42 x 201 x 109 inches.

  24. Edward Kienholz Night Clerk at the Young Hotel, 1982-1983 118 3/4 in. x 120 1/2 in. x 48 1/2 in. mixed media Back Seat DodgeDate: 1964

  25. Claes Oldenburg Claes OldenburgGiant Soft Fan (Ghost Version)1967Canvas, wood, and foam rubber Bedroom Ensemble   1963 wood, vinyl, metal, artificial fur, cloth and paperinstallation space: 3 x 6.5 x 5.25 m

  26. Robert Smithson SPIRAL JETTY Rozel Point, Great Salt Lake, UtahApril 1970mud, precipitated salt crystals, rocks, water coil 1500' long and 15' wide

  27. Nam June Paik Megatron, 1995 Video Screens142x270x23in Mars, 1990 Neon and video

  28. Postmodernism and Contemporary Art See Video: Art Of The Western World; Volume 9

  29. The Internet and the Future

More Related