Title: The Omen of the Eagle. Artist: Rothko. Date: 1942. Ideas from Surrealism. Biomorphic forms- as if looking at microscopic life. Hand drawn gesture. Abstract. Abex.
Title: Head of a Hostage. Artist: Fautrier. Date: 1944. While he was hiding from the Nazis, he heard them torturing people. Didn't depict the actual act because it would be to insensitive or spectacularizing it. Representing the sounds. Art Informel.
Reddish brown painted canvas with a circular, brain-like form in the middle
Title: Pillar of a Sunday. Artist: Smith. Date: 1945. Stem is abstract while the branches are more distinct. Stem looks like industrial waste, leftovers- idea of the readymade. The branches are hand made, artisanal. Vertical, echoing a human body. Constru
Title: Will to Power. Artist: Dubuffet. Date: Date: 1946. Thick oi painting- haute pate. Trying to start over with art after the war. Paint so thick suggesting food- France was very poor after the war, rations still in place. Trying to capture the shame o
Title: Onement I. Artist: Newman. Date: 1948. Created it with masking tape. Single gesture of beginnings.
Title: Magenta, Black, Green on Orange. Artist: Rothko. Date: 1949. His mature style. Large fields of color (color field). edges of paint are not strict- feathered. Abex.
Title: Woman I. Artist: de Kooning. Date: 1950. Body seems mutilated. Canvas showing the work in progress. Figure is fragmented. Pigmenti- showing the through process of the artist. Intense color. Body dissolving. Abex.
Title: Number 1. Artist: Pollock. Date: 1950.
Title: Vir Heroicus Sublimis. Artist: Newman. Date: 1950. Multiple zips. Red is all encompassing, envelops you. Not allegorical.
Title: Colors for a Large Wall. Artist: Kelly. Date: 1951. Matched colors from paint samples and randomly arranged them.
Title: Number 14. Artist: Pollock. Date: 1951. Figurative.
Title: White Painting. Artist: Rauschenberg. Date: 1953. Idea similar to John Cage- idea of nothing, if nothing exists, emphasis on the moment. Similar to the abex painters- no figuration and sense of immediacy. Index- something that shows the presence of
Title: Automobile Tire Print. Artist: Rauschenberg and Cage. Date: 1953. In a scroll shape- idea of printmaking. Role of technology and the car in society. Trace of something, indicating its past presence- the index. Not expressive. The index.
Title: Erased de Kooning. Artist: Rauschenberg. Date: 1953. Idea of removal, can see strokes of eraser. Challenges abex by literally erasing it, yet shares the idea of movement and action. No sense of autograph. The Index.
Title: Tanktotem V. Artist: Smith. Date: 1955. Work changes as you move around it. Turns it into a visual, optical experience- opticality. Vaguely human like, also totem like. Has movement. Constructionist vs. Surrealism. Constructed Sculpture.
Title: Target with Four Faces. Artist: Johns. Date: 1955. Critics didn't like it because of the physicality of the paint. Shape is double coded- is an abstract object, but also something that we know (a target). Index- casts of his face.
Title: Flag. Artist: Johns. Date: 1955. Not actually a flag, just a picture of a flag (Magritte, ceci n'est pas une pipe). Chose a flag because it is flat, abstract, and emotionally charged. Used encaustic, hot wax. Brushstrokes preserved in the fast dryi
Title: Just what is it that makes today's homes so different, so appealing? Artist: Hamilton. Date: 1956. Cut and pasted from magazines. Showing modern technology and ads. Rug is a Pollock. Eroticized. Collage. World of commodity. Independent group.
Title: Factum I and Factum II. Artist: Rauschenberg. Date: 1957. Subtle differences between the two, tried to make them look similar to challenge the abex notion of authenticity and unique qualities. The Index.
Title: Numbers in Color. Artist: Johns. Date: 1958. A grid with information- numbers in a sequence. Marks and order that already exist- idea of the ready-made of Duchamp. Grid makes it even flatter than Pollock.
Title: Untitled. Artist: Twombly. Date: 1959. Episodic- doesn't cohere as a whole, seems as if there are different artists. Anonymous- like graffiti. Primitive scrawl. Index- direct imprint of someone having been there, leaving their mark, residue. The In
Title: Abstract Painting, Number 5. Artist: Reinhardt. Date: 1962. Wanted to create abstract art with aesthetic purity. Different shades of black. Not referencing anything. Finality- tried to create the last painting, or the first painting. Tried to creat
Title: Morning. Artist: Martin. Date: 1965. Drew in graphite. Three viewing distances- up close to see the lines, far away to blue the lines, and in the middle to see an atmospheric, luminous effect.
Title: Windsor 6. Artist: Ryman. Date: 1965. Signature style is white canvases. Considered everything to be important- the material, canvas, support, how it is attached to the wall, etc.
Title: Carriage. Artist: Caro. Date: 1966. Opticality vs. physicality. changes as you walk around it. can form a square if you stand in a certain spot. Chose to paint the metal- taking away the texture and the focus on the metal. Constructed Sculpture.
Title: The Omen of the Eagle. Artist: Rothko. Date: 1942. Ideas from Surrealism. Biomorphic forms- as if looking at microscopic life. Hand drawn gesture. Abstract. Abex.
Title: Head of a Hostage. Artist: Fautrier. Date: 1944. While he was hiding from the Nazis, he heard them torturing people. Didn't depict the actual act because it would be to insensitive or spectacularizing it. Representing the sounds. Art Informel.
Reddish brown painted canvas with a circular, brain-like form in the middle
Title: Pillar of a Sunday. Artist: Smith. Date: 1945. Stem is abstract while the branches are more distinct. Stem looks like industrial waste, leftovers- idea of the readymade. The branches are hand made, artisanal. Vertical, echoing a human body. Constru
Title: Will to Power. Artist: Dubuffet. Date: Date: 1946. Thick oi painting- haute pate. Trying to start over with art after the war. Paint so thick suggesting food- France was very poor after the war, rations still in place. Trying to capture the shame o
Title: Onement I. Artist: Newman. Date: 1948. Created it with masking tape. Single gesture of beginnings.
Title: Magenta, Black, Green on Orange. Artist: Rothko. Date: 1949. His mature style. Large fields of color (color field). edges of paint are not strict- feathered. Abex.
Title: Woman I. Artist: de Kooning. Date: 1950. Body seems mutilated. Canvas showing the work in progress. Figure is fragmented. Pigmenti- showing the through process of the artist. Intense color. Body dissolving. Abex.
Title: Number 1. Artist: Pollock. Date: 1950.
Title: Vir Heroicus Sublimis. Artist: Newman. Date: 1950. Multiple zips. Red is all encompassing, envelops you. Not allegorical.
Title: Colors for a Large Wall. Artist: Kelly. Date: 1951. Matched colors from paint samples and randomly arranged them.
Title: Number 14. Artist: Pollock. Date: 1951. Figurative.
Title: White Painting. Artist: Rauschenberg. Date: 1953. Idea similar to John Cage- idea of nothing, if nothing exists, emphasis on the moment. Similar to the abex painters- no figuration and sense of immediacy. Index- something that shows the presence of
Title: Automobile Tire Print. Artist: Rauschenberg and Cage. Date: 1953. In a scroll shape- idea of printmaking. Role of technology and the car in society. Trace of something, indicating its past presence- the index. Not expressive. The index.
Title: Erased de Kooning. Artist: Rauschenberg. Date: 1953. Idea of removal, can see strokes of eraser. Challenges abex by literally erasing it, yet shares the idea of movement and action. No sense of autograph. The Index.
Title: Tanktotem V. Artist: Smith. Date: 1955. Work changes as you move around it. Turns it into a visual, optical experience- opticality. Vaguely human like, also totem like. Has movement. Constructionist vs. Surrealism. Constructed Sculpture.
Title: Target with Four Faces. Artist: Johns. Date: 1955. Critics didn't like it because of the physicality of the paint. Shape is double coded- is an abstract object, but also something that we know (a target). Index- casts of his face.
Title: Flag. Artist: Johns. Date: 1955. Not actually a flag, just a picture of a flag (Magritte, ceci n'est pas une pipe). Chose a flag because it is flat, abstract, and emotionally charged. Used encaustic, hot wax. Brushstrokes preserved in the fast dryi
Title: Just what is it that makes today's homes so different, so appealing? Artist: Hamilton. Date: 1956. Cut and pasted from magazines. Showing modern technology and ads. Rug is a Pollock. Eroticized. Collage. World of commodity. Independent group.
Title: Factum I and Factum II. Artist: Rauschenberg. Date: 1957. Subtle differences between the two, tried to make them look similar to challenge the abex notion of authenticity and unique qualities. The Index.
Title: Numbers in Color. Artist: Johns. Date: 1958. A grid with information- numbers in a sequence. Marks and order that already exist- idea of the ready-made of Duchamp. Grid makes it even flatter than Pollock.
Title: Untitled. Artist: Twombly. Date: 1959. Episodic- doesn't cohere as a whole, seems as if there are different artists. Anonymous- like graffiti. Primitive scrawl. Index- direct imprint of someone having been there, leaving their mark, residue. The In
Title: Abstract Painting, Number 5. Artist: Reinhardt. Date: 1962. Wanted to create abstract art with aesthetic purity. Different shades of black. Not referencing anything. Finality- tried to create the last painting, or the first painting. Tried to creat
Title: Morning. Artist: Martin. Date: 1965. Drew in graphite. Three viewing distances- up close to see the lines, far away to blue the lines, and in the middle to see an atmospheric, luminous effect.
Title: Windsor 6. Artist: Ryman. Date: 1965. Signature style is white canvases. Considered everything to be important- the material, canvas, support, how it is attached to the wall, etc.
Title: Carriage. Artist: Caro. Date: 1966. Opticality vs. physicality. changes as you walk around it. can form a square if you stand in a certain spot. Chose to paint the metal- taking away the texture and the focus on the metal. Constructed Sculpture.