Monday, November 29, 2010

Vincent Van Gogh, Shoes, 1888

Paul Cezanne, Still life with Plate of Cherries, 1885-87

Paul Cezanne, Pyramid of Skulls, 1901

Reading for this week: Cezanne's Doubt by Maurice Merleau-Ponty

Last week Tom assigned the final project for the class, a drawing inspired by or related to one of the terms on the syllabus that we've covered (or are going to cover). Be prepared to bring yours in on the last Thursday, and to talk about it. "Drawing" can be interpreted loosely.

Monday, November 15, 2010

American Social Realism: Isabel Bishop (1902-1988). From top, Still Life with Oranges, 1928 / School Girls, 1974 / Bishop printing

Socialist Realism: Otakar ┼ávec’s Stalin sculpture in Prague, 1951

Vija Celmins, Untitled (Ocean), 1990-1995

Colter Jacobsen, Bridal Veils Falls, 2007

Invested in representing reality, Realism  in art manifested in part as a socially and politically movement. Social realism endowed painting and sculpting with the mission of representing (underrepresented) social reality. 

The persistent interest in investigating and representing what is "real" has motivated artists to investigate visual perception, the passage of time and its effect on spaces and objects, and the material reality of artistic production.  Do you think that Realism can be meaningful in terms of art today? Does realism have to involve pictorial representation?

Reading for next week: excerpts of Van Gogh's letters from Theories of Modern Art (ed. Herschel Chipp)

Saturday, November 6, 2010

William Blake, Portrait of Newton, 1795

Bas Jan Ader, I'm too sad to tell you, 1970

Gottfried Helnwein, Untitled (After Caspar David Friedrich), 1998

Kathy Prendergast, A Dream of Discipline, 1989-2006

An increasing interest in subjectivity and individual expression in the face of oppressive regimes and economies led artists to new territories: mining the unconscious and turning towards nature in order to encounter the Sublime, and exoticizing outsiders (the insane) and foreign lands (the East), in a search of more "authentic" experiences. This complex of ideals appealed to individual human emotion in a novel way. William Blake's interior vision, Gericault's highly dramatic treatment of differences and tragedies, and Hudson River Valley landscape paintings are examples of three distinct directions these new ideas blossomed into. 

Threads of the Romantic are still very relevant in many contemporary artworks. Discussion questions: How do you think the emotional potency of early Romantic works functions today? And, can you think of examples of contemporary Romantic works? 

Reading for the coming week: The Nature of Realism, by Linda Nochlin