Rauschenberg And Duchamp

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

Klein´s art emerged from serious circumstances. France in the late 1940s was still nation traumatized by World War II. The cultural center of gravity had moved across the Atlantic to New York. The artists who remained in Paris, or at least the good ones, were producing post-apocalyptic work, and out of the same rubble came the much younger Klein.

Contemporary art has a long history of appropriating material into new work such as Duchamp’s ready-mades where he recontexualizes found source material, the photo collages of Hannah Hoch and today’s remix culture. In Remixthebook, Mark Amerika (2011) argues that in Postproduction art, “the artist takes what has already been produced in culture and, through creative postproduction means, expresses a new cultural configuration that both speaks to contemporary culture as well as the source material that has been remixed”. Traditional crafts such as patchwork and quilt making have also contained ideas of transformation of old collected materials into new forms. By the frugally collecting and repurposing of these waste materials, Gower critiques

Abstraction is the creation of art without representation of objects, in which the artist has total freedom of the art that they are creating. I will be using three paintings from three different time periods in order to show the development and lasting effects of abstraction in the twentieth century. The first work that I will be looking at is Foghorns by Arthur Dove. I will use this piece to show the beginning of abstraction, and how ideas of abstraction were present before the movement began. The second painting that I will be looking at is Jackson Pollock’s Lucifer. I will be using this painting as an example of the height of abstraction in the 20th century and will be discussing Pollock’s influence on abstraction. The third piece of art I will be looking at is Many Mansion by Kerry James Marshall. I will use this work to show the remnants of Pollock’s influence, and the influence of abstraction in general, on art in the later half of the century. For the development of this paper I looked at two of the course readings. The first reading that I used was The Tradition of the New by Harold Rosenberg. I used this article to show how Foghorns by Arthur Dove relates to abstraction, and to show how ideas in creation of this painting can be linked to ideas of abstract art. The second reading that I used for this paper was The Legacy of Jackson Pollock by Alan Kaprow. I used this article to gain information about

The two pieces of artwork being compared in this paper are two different ships made via the use of different mediums. These pieces, while similar in concept, are different in their executions. Through these two pieces, people will see that the two different mediums can achieve similar lifelike results.

Non-conformist to traditional art forms, Conceptualism challenges the viewer to delve into the mindset of the artist. It is often seen as multidimensional as it forces the audience to decipher the artists intentions. This art movement has been completely rejecting the standard ideas of art since the mid-1960’s. Since then, many artists have made a name for themselves by self-consciously expanding the boundaries of art. Many of these artists have said they’ve linked their work to artist Marcel Duchamp.

Scott Redford and Anne Zahalka use their artworks to comment, reflect and document cultural ideas and values of a place.

The works ‘Blaze’ and ‘Fragment 1/7’ by Bridget Riley and the work Six Geometric Figures (+ Two) by Sol LeWitt all share many aspects of art in common however they are very distinct in terms of the different materials, techniques and the emotions they provoke. Though the artworks can be looked at in different ways, these are all pieces that at first are perceived to mean nothing, but it is evident what the aim of the artists is after an indepth view.

The two artworks I have chosen to discuss in this paper are 3-D sculptures of two renowned artists. These surrealists of two amazing sculptures are Rene Magritte and Victor Brauner. Both of their artworks are located at The Menil Collection, Houston TX. These in the round sculptures are entitled Megalomania (La folie des grandeurs) and Sign (Signe). First, Rene Magritte’s medium on his Megalomania masterpiece is bronze. It was sculpted in 1967, and the size of this artwork is 61 x 48 x 32 3/8 inches (Menil). Similarly, Victor Brauner’s medium on his Sign artwork is gilded bronze. The artwork was beautifully crafted as well in 1945 and casted in 1961. The size of this artwork is 12 1/2 x 5 1/4 x 8 1/4 inches (Menil). As I go on, I will

Until now I have exposed Weber´s and Bourdieu´s perspectives, at least their basic ideas. Both defended that material and conceptual causes are important and any of them should be belittled. However there are some differences in how they work with these aspects. Despite Weber is one of the authors who most clearly work with conceptual matters, he does not forget material ones. Bourdieu, on his side, was concerned to conceptual matters, but his theories about evolution of religion looked more inspired in material reasons. So both of them work with material and conceptual matters. However they did it in quite different

The transition from Cubism to De Stijl can be seen through the works of Pablo Picasso’s Three Musicians, Theo van Doesburg’s Card Players, and Piet Mondrian’s Tableau No. II with Red, Blue, Black, Yellow, and Gray. One can see the transition from geometric shapes creating people to just using geometric shapes to create a grid. Among the generic shapes that change each has much different symbolism and history.

In comparison to the Modern Artist Barnett Newman, Mark Grotjahn’s paintings have similar formal decisions to His predecessor. In Mark Grotjahn’s works, the outward appearance of his butterfly pieces might resemble similar formal concepts from Barnet Newman’s paintings. A likeness, present within Grotjahn and Newman’s paintings, is the vertical line bisecting the canvas. Which Barnett Newman coins this aesthetic a “zip”, or the use of a single vertical band .

A recent article in Art News discusses the British Avant-Garde artists in terms of their "ruling out nothing."(6) It discusses grass roots initiatives such as the 1988 "Freeze" show organized by Damien Hirst, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of train stops on London Underground maps with those of philosophers, and others. Cornelia Parker¡¦s idea that visual appeal is not the most

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.

In a ‘tradition breaking spirit’ [D’Alleva, 2012], that characterised modernist artists, early in the twentieth century, Duchamp abandoned traditional ideas and techniques, to create a new kind of ‘art’, one that the idea behind a work of art is more important that its visual realization, the ‘retinal’. The ready-mades was the product of Duchamp’s questioning what art is.