Allen Kaprow Yard Analysis

Though, throughout this time period, “the great majority of Americans disliked or even despised modern art,” it was an essential art movement in the 1950s and 1960s, and the “CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years,” creating a meaningful impact on the outcome of the Cold War (Saunders). “Abstract Expressionism stood for, above all else,

My perception of The Legacy of Jackson Pollock relates to my practice through the concept of regenerating materials to create artwork, while also regarding how Pollock’s work engages with an audience through his application of medium, showing spatial awareness through his method of creating.

Pop Art emerged in Britain in the late 50’s and the United States in the early 60’s.(Mamiya 1992) Pop Art is generally known today as a representation of celebrating popular culture and consumerism, however it’s background and origins are far more broad and extensive. There are many factors and influences that lead to the creation of the Pop Art movement such as adjusting to life after World War II, new technological advances that lead to mass cooperate growth, the evolution of Abstract Expressionism and also social issues in the media such as feminism. (Smith 2001; Mamiya 1992) Many of these factors overlap and act as a catalyst in the creation of Neodadaism and eventually Pop Art. (Livingstone 1992) Pop Art does not have a soul distinct style nor just one major influence and this can be proven by looking at key artists of the movement such as Roy Lichtenstein, Andy Warhol, Claes Oldenburg and James Rosenquist as well as female Pop artists such as Martha Rosler. (Brauer, Edwards, Finch & Hopps 2001) Exploring these artists and the major influences of their work will break down Pop Art and establish the movement’s purpose as well as its evolution.

Required Text: Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, eds. Kristine Stiles and Peter Selz, University of California Press, 1996.

Pollock-Krasner Foundation, Artists Rights Society (ARS). (2017). Collection. Retrieved from MOMA Museum of Modern Art, US: Museum of Modern Art [US]/https://www.moma.org/collection/works/78699

Because the importance of environment, some of the minimalist works were in large sizes, such as Tony Smith’s Die. Smith believes that one had to experience art not merely imbibe

is the most living influential postwar American artist moved beyond Abstract Expressionism toward Minimalism. He believes into shapes possibilities to be able to give you narrative sentence.

Abstract Expressionism began in the 1940s and the 1950s in New York after World War II from the ideas of Surrealism about art that looks to examining the unconscious mind, and the feelings people hold that makes us all humans. Through the discussion of Autumn Rhythm (Number 30) by Jackson Pollock, I will define Abstract Expression and why this work is part of this movement. Then, through the discussion of Canyon by Robert Rauschenberg, Target with Plaster Casts by Jasper Johns, and Marilyn Diptych by Andy Warhol, I will explain Assemblage and Pop Art and why each of these works belong to those movements.

My paintings give material form to the human tendencies to compartimentalize, and desegregate, both nature and our built environments. In each two-dimensional work, I start with an impression ---a feeling, a memory, a childhood friend, a family member, or a location---and build the forms using patches of color, showing my own habit of separating parts of the world around me into smaller, consumable parts. For example, in L.A. Bus Routes, I utilized my frustration with the pervading image of Los Angeles’s car-riding culture by making a largely unspoken bus-riding culture take center stage. I drew lines with colored pencil representing the L.A.’s city blocks defined by bus routes surrounding my East Hollywood home. Fluidly, colors bled into others where watercolored shapes met, representing the permeable borders of neighborhoods in L.A. My work questions the fabric of social dissonances using a patchwork of watercolor, gouache and pencil marks that suggest a human need to compartmentalize aspects of our surroundings, our selves, and

Jean-Michel Basquiat emerged from the punk scene in New York as a street-smart graffiti artist. He successfully crossed over his downtown origins to the international art gallery circuit. Basquiat’s work is one of the few examples of how an early 1980’s American graffiti-based could become a fully recognized artist. Despite his work’s unstudied appearance, Basquiat very skillfully and purposefully brought together in his art a host of disparate traditions, practices and styles to create a unique kind of visual collage. His work is an example of how American artists of the 1980’s could reintroduce the human figure in their work after the wide success of minimalism and conceptualism.

Judy Chicago’s feminist artistic career ironically began with minimalist styled art. Minimalist art is defined by the Tate (a highly respected institution in London that runs 4 separate museums) as “an extreme form of abstract art developed in the USA in the 1960s and typified by artworks composed of simple geometric shapes based on the square and the rectangle”. Its essence is best condensed by artist Frank Stella when he describes his minimalist paintings as “What you see is what you see”. Judy Chicago was trained as a minimalist artist and she explains in a lecture she gave at the Carpenter Performing Arts Center in Long Beach, California that “during the first decade of my career I experienced two forms of censorship the first was self-censorship

In order to discuss pop art I have chosen to examine the work and to some extent lives of Roy Lichtenstein and Andy Warhol who were two of the main forces behind the American movement. I intend to reflect the attitudes of the public and artists in America at this time, while examining the growing popularity of pop art from its rocky, abstract expressionist start in the 1950s through the height of consumer culture in the 60s and 70s to the present day.

In 1953, Robert Rauschenberg had the idea of adding drawing to his All White Series. However, drawing on these paintings, or anywhere, would defeat the purpose of this series, and so he came to the conclusion that the only way he could achieve this would be through erasure. He began experimenting with his own drawings, but still being a young artist it he didn’t think it would be considered art. For his idea to work, he thought, it had to be art that he erased. Having admiration and respect for artist Willem de Kooning, Rauschenberg decided to buy a bottle of Jack Daniels, and go to his house. Rauschenberg explained to de Kooning his idea, and asked if he could use a drawing of his. Reluctant, de Kooning agreed, only because he understood the idea. After looking through his portfolios, de Kooning handed Rauschenberg a drawing that he would miss, and that was almost impossible to erase. A month later, Rauschenberg successfully erased de Kooning’s drawing, and with the help of Jasper Johns, titled the piece in ink, and framed it. Robert Rauschenberg’s Erased de Kooning Drawing can be seen as either a minimalist piece or conceptual piece. Through a clearer understanding of both movements, the aim of this essay is to show how this piece could be seen as a minimal piece or a conceptual piece, and to see which movement it leans more towards.

The book consists of twelve chapters that propose this idea that designers should explore the nature of our senses’ response to the spatial built forms that people invest their time in. It tries to cover a specific topic in each chapter that in order to deconstruct the book, it is necessary to cover each chapter individually.

Lowbrow art is a unique art movement that emerged in the 1970s in the shady corners of Los Angeles, California. Lowbrow art has many labels such as underground, Neo-pop, and Nobrow. Also known as pop surrealism, lowbrow art, was inspired by surf culture, punk music, underground comix, and most importantly, cartoon and comics. Lowbrow art is a movement for the millions of people who share a common culture. The movement has steadily grown since the 1970s and isn’t going anywhere soon. The pop culture prevalent in lowbrow art differs through each artist and is represented through their imagery. In this paper, I am going to elaborate on the characteristics of lowbrow art. Then, compare and contrast two contemporary lowbrow artist’s works, Isabel Samaras and Kenny Scharf (Esaak).