Raoul Hausmann's Influence In Three Selected Art Works

In the late 1950s, Rauschenberg began to make the groundbreaking works he dubbed Combines. These works inspired Leo Steinberg’s theorization of the “flatbed picture plane.” This term was posited in his essay “Reflections on the State of Criticism.” The essay’s first manifestation was as a lecture given at the Museum of Modern Art in March 1968, and was subsequently published in Artforum in 1972. Notably, it was also the title essay in Steinberg’s book Other Criteria: Confrontation with Twentieth-Century Art, of 1972. Steinberg’s notion of the flatbed picture plane has several facets. This picture plane relies on the actual flatness of the painting’s surface, the horizontality of the work’s construction and reception, an interaction between

In this discussion, I hope to put a different spin on surrealism and the grotesque by drawing on the works of Sartre, and if we're not too dizzy from spinning when all is said and done, I shall have put together a way to investigate the grotesque in Modernist art and contemporary life. After a summary of the surrealist's use of Freud and a look at Sartre's criticism of surrealism, we will look at surrealism in Sartre's work and derive an existentialist definition of the grotesque and examine how this might reconfigure the surrealist goal of liberation. Surrealist art is almost always analyzed in terms of Freudian psychoanalytic theory because the surrealists openly announced Freud's study of the psyche as the inspiration for the practice of surrealism. Andr‚ Breton, author of the many surrealist "Manifestoes" and the self-appointed spokesman and scribe of the surrealist movement, eulogized Freud, who died in 1939, by writing that: ". .

World War I was a war that shocked the world and brought about new emotions that created a large wave of “-isms” as well as the “lost generation” of writers. Modern art was catalyzed by World War I and without a thorough study of the various forms of art that resulted from it, modern art and the tremendous effect that World War I had on the people of the world cannot be fully understood. This historical investigation will cover a few aspects of the art that resulted from World War I so that a general idea of the emotions shared by the people of the world can be known. A few paintings that represent specific movements will be studied to understand the artistic movement. A number of museum exhibitions will be studied along with government websites, databases, and museum websites, especially from the Museum of Modern Art.

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

Photography was an ideal medium with which to explore the payers of the unconscious mind. Modernist photographers experimented with double exposure and unusual new effects similar to those of visionary Surrealist painters and sculptors. A champion of the technique, Raoul Hausmann, called photomontage “the ‘alienation’ of photography”. By this, he implied that photomontage destroyed the role of photography as a medium of recreating physical reality. But the statement also suggests that by its dependence on fragmentation and dislocation, photomontage offered a visually and conceptually new image of the chaos of an age of war and revolution.

This paper will deal with the Perspective of War and how the certain aspects of war has forever changed the history and thought processes of civilizations worldwide. The paper will focus on the duty and action of war, the destruction and fear of war, and finally the memory of war.Investigating these ideas will give us a broader understand of how war has forever changed us as a society and how art is the perfect representation of this change.

Uelsmann’s work was not well received in the photography community. His creations were not considered photography; however, he was well received in the art community. John Szarkowski hosted a solo exhibit at the Museum of Modern Art in 1967. Uelsmann was considered “iconoclastic” and “set out to convince critics that photography offered alternatives to the conventional “purist” sensibility…” Uelsmann debated that photos could “evoke elusive states of feeling and thinking triggered by irrational and imaginative juxtaposition” (Kay). Uelsmann has succeeded in finding a following among photographers and artist alike. In the past forty years, Uelsmann’s work has been exhibited in over 100 solo shows throughout the US and overseas. He has permanent instillations in museums worldwide (Taylor). Uelsmann’s photos are now revered for their original technical form as well as their surreal matter (Johnson).

Intensively striking war imagery emerges throughout the course of the text and therefore effectively joins its underlining fore.  Graphic images of the grotesque face of war characterize and develop the

In this essay we will be looking at the ways contemporary artists represent the body. And how we no longer look to art for idealist portrayals of the human form. Through contemporary art the body has become a territory and vessel, which can transmit ideas within our society. We will be exploring theories surrounding this topic, particularly notes from Mulvey's 'The Gaze' and Leo Bersani's 'The Freudian Gaze'; where they have successfully pinpointed why society's depiction of the human body has become romanticised and idealised. We have decided to analyse the work of Jenny Saville and the way in which she paints series of her grotesque and yet entirely realistic self portrait.

Tremendous technological advance and tremendous slaughter leave an artistic waste land of atrocity, emasculation and pointing posters used to manipulate the public into recruiting men to join the military around the globe. Skilled illustrators in America, less inventive but artistic allegory’s in Canada and France and plain typography in Britain leave many artists busy with supporting the war effort. On the outskirts of war were a contingency of international peoples with little means and a negative view of European culture and war that chose to defect to Switzerland where they created the art movement known as Dada.

“He merged American visual culture into European avant-garde (modern art) design, integrating Cubism, Constructivism, the Bauhaus and De Stijl into his work.” (Reed, Norah)

The art movement that occurred before World War II and that began as a way of protest was the Dada movement. Dadaism was born in Zurich, Switzerland – more specifically in the heart of the night club the Cabaret Voltaire in 1916, founded by leading Dada artist Hugo Ball. Dadaism was an anti-war movement that provided criticism of both capitalist and European culture, creating what was essentially nonsensical art to respond as a way of pitying society and its newfound obsession with war. An early example of artwork from the Dada movement was by one of the defining artists of the movement – Rectangles Arranged According to the Laws of Chance, a paper collage made in 1916 by Jean (Hans) Arp. Dada artists like Arp thought that pure chance itself was an unseen force, and played on the idea on the nonsense that could happen because of this chance. The nonsense and absurdity that chance could create was then comparable to the Dada artist’s views on war. The lack of control that came with the technique differed from tradition of the artist making all the decisions, yet again proving its obscurity. This specific collage of

At the turn of the century Paris was one of the capitals of culture and art to the outside world. However, the truth of the matter was that this taboo-ridden society was being run by an aristocracy that was repressing the arts. Naturally, when World War 1 broke out, the suppressed French society finally had a release and a rebellion against order arose. WWI specifically affected the theatre of French and it’s aftermath. From the ashes of war the avant-garde theatre grew and styles such as Dadaism and Surrealism were born. It was both the climate of culture before the war and the devastation of the war that lead to the outbreak of avant-garde theatre in France.

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.

This paper is an explanatory paper by a cultured gentleman on Avant-Garde art and the challenges facing Avant-Garde. More specifically, it comes off as a rant against the bourgeois and proletariat for failing to appreciate Avant-Garde art and instead preferring to art he calls the rear-guard art or Kitsch. This work was printed by the Parisian review during fall, 1939.