Readymade

something already made that is designated as an artwork by the artist

Appropriation

taking someone else's product and using it for your own purpose

Conceptualism

artworks that appeal more to the mind than the senses

Cafe Voltaire

cafe in Zurich where European Dada began

Tristan Tzara

a leading figure in the European Dada movement famous for his nonsense poetry and performance

Andre Breton

father of Surrealism

Automatism

drawing or painting without conscious control

The Genteel Tradition

idealized scenes of upper class life in America popular among collectors at the turn of the 20th century

Robert Henri

the father of the artists known as the Ashcan School because of their focus on New York's lower classes

Realism

scenes of ordinary, everyday life

The Armory Show

the 1913 exhibition that introduced America to European avant-garde art

MoMA

The Museum of Modern Art founded in 1929 to Promote Modernist Art

The Collective Unconcious

Carl Jung's idea that everyone shares the same unconscious

Clement Greenberg

America's leading Modernist critic at mid century

Mondrian, Composition with Red, Yellow, and Blue, 1930; de Stijl

- tension – balanced (yellow holds up the red) - for everyone - humans make art because there isn't enough beauty in the world. - purpose: to be used for everything in the world because everything in the world should be beautiful so we can be happy.

Rietveld, Schroder House, 1924, de Stijl

- the house is the art - if we live in a world where everything looks like that, we would be happier.

Leger, Grand Luncheon, 1924, Purism

- body parts are industrial - celebration of the factory idea (if only people could be more like machines); they lack autonomy, feelings, and ideas

Matisse, Odalisque with Magnolias, 1923, no category

- response to the New Woman - he felt that women should not work, be cared for, live in a secluded environment (this is what makes women happy); they are for sex.

Beckmann, The Departure, 1932-5, New Objectivity

- images of cruelty and suffering - middle scene of king, queen, child, & oarsman – represents the escape from this world, sailing to start a new world (hope for a new world/freedom) - context: Nazis come to power in 1933, they don’t like avant-garde art - for the artist – statement about what he wants: to escape

Beckmann, Self Portrait in Tuxedo, 1927, New Objectivity

- for himself - who I want to be/who I am - he wants to build a stronger self – he has to build toughness to combat the atrocities of life; his hands are big to emphasize how helpless he feels - he’s looking for a stronger and tougher self because he’s upset with the suffering in the world – solution: developing toughness.

Dix, Self Portrait with Model, 1923, New Objectivity

- statement about men and women – men need civilization, women don’t (they can be natural) - the critique of men - the purpose of civilization: rules and regulations keep you from acting according to your desires/instincts; clothes are on the side of civilization/superego

Schad, Maika, 1929, New Objectivity

- this painting says she is a product of her environment – the city is an unhealthy place - her look says that she's wary – doesn’t know or trust us – that’s vulnerability - the disconnect between humans

Duchamp, Fountain, 1917, Dada

- he changed a male thing into a female thing (it's curved, the dark hole looks like a vagina) - a game between the artist and the viewer - for the viewer who could play the game (who is smart enough and interested in playing ‘chess’ to understand what the art is about)

Duchamp, LHOOQ, Dada

- taking a reproduction and adding letters and facial hair – the original meaning of the Mona Lisa: symbol of hierarchy – the artists took something high and made it low - letters: ‘elle a chaud au cul = she’s got a hot ass?’ – she’s laughing at the joke - it’s his face on the Mona Lisa – a clever, conceptual self-portrait; he’s playing a game

Ball, Elephant Caravan, !917, Dada

- performance art - he comes out in the outfit and reads the poem - it's supposed to be taking us back to the roots of language – a let's begin again kind of gesture - he celebrates fun, pleasure, and a critique of language

Hausmann, The Spirit of the Age, 1920, Dada

Hoch, Foreign Beauty, c. 1929, Dada

Breton, The Barres Trial, 1921; Dada

Dali, The Great Masturbator, 1929, Surrealism

Ernst, One Night of Love, 1927; Surrealism

Magritte, Clairvoyance, 1936; Surrealism

Oppenheim, My Governess, 1936; Surrealism

Kahlo, Broken Column, 1944, Surrealism

Sloan, The Picnic Grounds, 1906, American Scene Painting

Marsh, Why not use the El, 1930, American Scene Painting

Hopper, Nighthawks, 1942, American Scene Painting

Curry, Baptism in Kansas, 1928, American Scene Painting

Wood, American Gothic, 1930, American Scene Painting

Weber, The Chinese Restaurant, 1915: American Modernism

O'Keeffe, Road Past the View, 1964; American Modernism

Gorky, Garden in Sochi, 1943; Jungian Surrealism

Pollock, Male and Female, 1942; Jungian Surrealism

Pollock, Autumn Rhythm, 1950; Abstract Expressionists