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2018/04/18(14:56) from Anonymous Host
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R: April 12th Class Summary
April 12th Class Summary


(1) Perforlecture

Yum Lee is a performance artist, also a student of Professor Gum.

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Professor Gum received a book from Yum Lee with her signature on it.


 

Yum Lee also writes songs.

Yum Lee¡¯s perforlecture.
Colored the lecture room all red with red lights and red photographs
Attendant had red outfits.

 


(2) Pablo Picasso and Paul Cezanne

Pablo Picasso regarded Cézanne as a "mother hovering over," Henri Matisse as "father to us all." Inevitably, our understanding of Cézanne's painting is colored by later cubism and abstraction, focusing attention on the formal aspects of his work. His reduction of the visible world into basic, underlying shapes, the faceted brushstrokes that seem to reconstruct nature through purely painterly forms, the fracture and flattening of space - all these can be seen as the beginnings of modern art. Yet Paul Cézanne himself stressed that he painted from nature and according to his sensations, seeking to realize a "harmony parallel to nature." 
Cézanne's insistence on redoing nature according to a system of basic forms was important to Picasso's own interest at that time. In Cézanne's work Picasso found a model of how to distill the essential from nature in order to achieve a cohesive surface that expressed the artist's singular vision. Beginning in 1907, Picasso began to experiment with Cézanne's techniques alongside fellow artist Georges Braque. Cézanne was a constant touchstone for the two artists during this period of collaboration, which eventually resulted in the invention of Cubism by 1909. Throughout Picasso's stylistic evolution over the next seven decades, he continued to borrow from and reinterpret Cézanne's art.


(3) Avant Garde

In fine art, the term "avant-garde" (from the French for 'vanguard') is traditionally used to describe any artist, group or style, which is considered to be significantly ahead of the majority in its technique, subject matter, or application. This is a very vague definition, not least because there is no clear consensus as to WHO decides whether an artist is ahead of his time, or WHAT is meant by being ahead. To put it another way, being avant-garde involves exploring new artistic methods, or experimenting with new techniques, in order to produce better art. The emphasis here is on design, rather than accident, since it seems doubtful that a painter or sculptor can be accidentally avant-garde. But what constitutes 'better' art? Does it mean, for instance, painting that is more aesthetically pleasing? Or more meaningful? Or more vividly coloured? The questions go on and on!

Pointillism is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. It is related to Divisionism, a more technical variant of the method. Divisionism is concerned with color theory, whereas pointillism is more focused on the specific style of brushwork used to apply the paint.[1] It is a technique with few serious practitioners today, and is notably seen in the works of Seurat, Signac and Cross. However, see also Andy Warhol's early works, and Pop Art.

 

Realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic, and supernatural elements.

Impressionism is a 19th-century art movement characterised by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.

Fauvism is the style of les Fauves (French for "the wild beasts"), a group of early twentieth-century modern artistswhose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1904 and continued beyond 1910, the movement as such lasted only a few years, 1905–1908, and had three exhibitions. The leaders of the movement were André Derain and Henri Matisse.

Art Nouveau (/ˌɑ¢°rt nu¢°ˈvoʊ, ˌɑ¢°r/; French: [aʁ nuvo]) is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the academic art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants and flowers.

Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express the meaning of emotional experience rather than physical reality.

Cubism is an early-20th-century art movement which brought European painting and sculpture historically forward toward 20th century Modern art. Cubism in its various forms inspired related movements in literature and architecture. Cubism has been considered to be among the most influential art movements of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris (Montmartre, Montparnasse and Puteaux) during the 1910s and throughout the 1920s.

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla, and Luigi Russolo.

Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world.[1] Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. 

Dada (/ˈdɑ¢°dɑ¢°/) or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire (circa 1916); New York Dada began circa 1915,[2] and after 1920 Dada flourished in Paris. Developed in reaction to World War I, the Dada movement consisted of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works.[3][4][5] The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, and sculpture. Dadaist artists expressed their discontent with violence, war, and nationalism, and maintained political affinities with the radical left

Suprematism (Russian: ¬³¬å¬á¬â¬Ö¬Þ¬Ñ¬ä¬Ú́¬Ù¬Þ) is an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, around 1913, and announced in Malevich's 1915 exhibition, The Last Futurist Exhibition of Paintings 0.10, in St. Petersburg, where he, alongside 13 other artists, exhibited 36 works in a similar style.[1] The term suprematism refers to an abstract art based upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects.

Giorgio de Chirico (Italian: [ˈdʒordʒo deˈki¢°riko]; 10 July 1888 – 20 November 1978) was an Italian artist and writer. In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists. After 1919, he became interested in traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work.

Surrealism is a cultural movement that began in the early 1920s in France, and is best known for its visual artworks and writings. Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects, and developed painting techniques that allowed the unconscious to express itself.[1] Its aim was to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality".

Action painting, sometimes called "gestural abstraction", is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied.[1] The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist.

Pop art is an art movement that emerged in Britain and the United States during the mid- to late-1950s.[1][2] The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane cultural objects. One of its aims is to use images of popular (as opposed to elitist) culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony.[3] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.

Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts.





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