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Art 2/Artist Spotlights

You will be introduced to selected works of art and artists as they relate to the curriculum. In your sketchbook:
1. Complete a thumbnail sketch of the work 
2. Document the #, heading, and credit line 
3. Review all provided resources - take notes 
4. Answer the questions completely and with specificity; complete sentences should reveal the question (write legibly or type/print)

​Entries started in class must be completed as homework by the same day/next week

MORE ART HISTORY!

#14 - Jaune Quick-to-See Smith (b.1940)

3/18/2019

 
Picture

Modern Times

1993
Lithograph 30" x 22"






















"Modern Times tells a story about the complexity of Indian life today with the medicine plant and pictograph which can be important to a modern Indian even [though] dressed in a suit with a briefcase-he may wear a headdress to dance on the weekend . . . . 'Apples' also means to Indian people that some have turned against the old ways and are white on the inside and red on the outside."

Smith calls herself a cultural art worker.  Elaborating on her Native American worldview, Smith's work addresses today's tribal politics, human rights, and environmental issues with a keen sense of humor.

LOOK AT THIS IMAGE CAREFULLY and make note of its content and specific qualities.

WATCH THIS and take notes:

ACTIVITIES: 
  1. Read the Scholastic magazine, " Modern Native American Artists: Working with Juxtaposition"  and answer the questions you have been given. Once graded, attach them into your sketchbook as part of AS #14.
  2. After learning about Quick-to-see-Smith's work,  list specific techniques/media/approaches that you have noticed in her work and that you might consider incorporating into your own.

#13 - Jeff Koons (b. 1955)

3/11/2019

 
Picture















Sandwiches (from the series Easyfun-Ethereal)
2000
Oil on canvas
10 x 14 feet (304.8 x 426.7 cm). 
Solomon R. Guggenheim Museum, New York,

The photo below was taken at the Gagosian Gallery, NYC, April 2018.
Picture
Read and take notes:

(From the Guggenheim website) This work, along with others in Easyfun-Ethereal, is part of Koons's new brand of Pop painting (Neo-Pop), recalling in particular the advertising iconography and billboard-style painting technique present in James Rosenquist's canvases. In Sandwiches the artist refers to this predecessor by including the glistening chrome of a 1963 Chevy Impala at the upper right corner. At the same time, the collage of animated deli meats, the turkey made of ice cream, and the cartoon eye and moustache recall the free-associative imagery of Salvador Dalí, Max Ernst, and René Magritte, while the background streams and splashes of milk echo Jackson Pollock's abstractions. Koons's fusion of Pop representations with Surrealist and abstract overtones creates a hybrid of fun and fantasy, yielding a body of work that depicts gravity-defying forms of dreamlike pleasure.

From Artnet.com: 
Neo-Pop artist Jeff Koons (American, b.1955) inspires conflicted reactions to his over-sized sculptures of banal—and sometimes shocking—objects; some consider his work art historically significant, others view him as an attention-seeker who panders to the high art world. Educated at the Art Institute of Chicago and the University of Maryland, he was initially supported by his career on Wall Street. By the early 1980s, Koons was able to found a studio staffed by assistants. Most famous for enlarged objects such as Puppy and his huge sculptures of inflated balloons, Koons also works in series of paintings, prints, and collage, stating he attempts “to make a body of work that anybody could enjoy.”

Read this article and take notes:
  • I Was Jeff Koons's Studio Serf 
Watch this video, from 1:13 - 7:15
  • Art 21: Jeff Koons in "Fantasy"
AFTER CAREFULLY REVIEWING THE RESOURCES ASSIGNED ABOVE: Answer the following questions completely and with specificity to the provided resources, previous Artist Spotlight information, personal reflection, and additional research as needed:
1. How does Koons' work parallel that of Rosenquist and of the Pop artists who he is clearly inspired by?
2. Art history plays a critical role in Koons' work - explain.  
3. Koons is considered controversial by those who think he is more of a "businessman" than an "artist." What is your opinion?
CURIOUS? HERE'S MORE!
  • Jeff Koons on His Five Most Ambitious and Unrealized Projects

#12 - James Rosenquist (1933 - 2017)

3/4/2019

 
Picture







Marilyn
1962
Oil and spray enamel on canvas
7' 9" x 6' 1/4"

Gallery label text from MoMA: 
"Screen icon and sex symbol Marilyn Monroe (1926–62) was a favorite subject of many pop artists, and she figures prominently in more than fifteen works in the Museum's collection. Here, in a tribute to the actress created soon after her death, Rosenquist inverted, fragmented, and partially obscured her image with a superimposed portion of her name. He also included a segment of the brand name "Coca–Cola," rendered upside–down in its trademark script. In pairing Monroe with this famous logo, Rosenquist was suggesting that she is as iconic an example of American popular culture as the ubiquitous soft drink."

Look carefully at these 10 Paintings by James Rosenquist - LIST THE SUBJECT MATTER THAT YOU RECOGNIZE

READ THIS article and take notes
Image below: F-111, as described in the reading and in this audio/video

Picture
Installation view of James Rosenquist: F-111 (1964-65) at MoMA. Oil on canvas with aluminum, 23 sections. 10 x 86’ (304.8 x 2621.3 cm). Gift of Mr. and Mrs. Alex L. Hillman and Lillie P.Bliss Bequest, both by exchange. © 2012 James Rosenquist/Licensed by VAGA, New York, NY. Photo by Jonathan Muzikar

Excerpt from http://www.moma.org/explore/inside_out/2012/02/14/f-111-1965:
"A special installation recently opened at MoMA of James Rosenquist’s F-111, an 86-foot-long painting that the artist designed to extend around all four walls of the Leo Castelli Gallery, at 4 East 77 Street in Manhattan. Rosenquist began the painting in 1964, at a decidedly tense and tumultuous moment in this country, as the Vietnam War steadily escalated abroad and anti-war activism gained momentum at home. The subject, the F-111 fighter-bomber plane, was in development at the time as part of a military initiative that ended up costing $75 million; funded by American tax dollars, it was meant to be the most technologically advanced weapon in the U.S. Air Force’s arsenal. Rosenquist painted the body of the plane to span the work’s 23 panels, interspersed with spliced-in images of commercial products and references to war—fragments of what he has called “the flak of consumer society.” Through this expanse of colliding visual motifs, F-111 points to what the artist has described as “the collusion between the Vietnam death machine, consumerism, the media, and advertising.”
AFTER CAREFULLY REVIEWING THE RESOURCES ASSIGNED ABOVE: Answer the following questions completely and with specificity to the provided resources, previous Artist Spotlight information, personal reflection, and additional research as needed:
1. What was the CONTENT of Rosenquist's work?
2. Define the following terms: 1) New York School, 2) Abstract Expressionism, 3) motif, 4) iconography, 5) pastiche, 6) grisaille, 7) disparate, 7) banal
3. Explain what Rosenquist learned from painting billboards; how did his  career as a billboard painter influence his painting style?​

CURIOUS? Here's even MORE information:
  • Learn more about Rosenquist's F-111 from MoMA's Dept. of Painting and Sculpture collection specialist 
  • James Rosenquist died on March 31, 2017 @ age 83. This is a great article.
  • ​James Rosenquist’s Day Job Painting Billboards Led to His Greatest Work

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