POST-MODERN: PAINTING (8 apr 1963 anni – 23 magg 1989 anni)

Descrizione:

- After the Marshal Plan: America was helping to rebuild Europe and while doing so imported American culture
- New confidence in Russian artists
- Doesn't seek newness
- Capital Realism: a form of pop art that responded to American aesthetic hegemony
- distorted what appeared to be American infatuation in capitalism into art sensitive to the complexities of contemporary European life
- post-war Germany
- Governments shifted to the right side
- Rejection of the ideals of the enlightenment
- Split into different groups: ecologists, feminists, gay
- Jamison: no longer possible to distinguish aesthetic and commodity
- Post-modern artists go for the shallow
- Retro replaces historical awareness/parodies
- Pastiche: speech in the dead language
○ Re-production rather than production
○ Takes things that are out of order and puts them together on a surface
- taboo, primal, and vulgar figures
- rediscovered traditional elements condemned by avant-garde artists
- interested in authenticity again (ex. graffiti was a logo or tag
- rejection to minimalism (revived brushwork)
- started in the US by young artists
- painted bold, heroic, mythical, and rebellious content

RICHTER
- originally from Germany
- learned from Beuys
- created blurred photo-paintings
- photos taken from newspaper, family snapshots, and other found images
- work has an insistence on the banality of evil
- inspired by philosopher Hannah Arendt (traumatic events can happen when normalized wit society)
- conveys the ambivalence of personal loss and the instability of historical memory
- Shares Warhol's fascination of the disaster
- Comments on how little information the media presents to the public
○ Media only showed the portraits of the victims
○ Victims were known as "a group of student nurses" not individuals
- Series: October 18, 1977
- Sympathized terrorists
- Photography is being used as a tool by the government
○ Terrorists depicted as pure evil
○ Richter depicts them in stillness
- Paintings had to exhibited together


POLKE
- adopted the Benday process
- depicted blown up media images with imperfections and cheap tabloid subject matter
- draws attention to reproduction, interfering with the perfection of classical Pop Art
- commented on the infiltration of American media into German culture
- re-presents a publicity photo of Playboy bunnies
- emphasizes the ubiquity of commercial branding even as it reduces individuals to trademarks
- Sexual freedom
- Women are a group not an individual (type is sexy, not the women)
- Unreal sexuality
- Facial features become smears of colour
- Figurative painting (no longer abstract)
Images taken from the mass media

- layered photographic reproductions onto underlying patterns of repeating abstract motifs from textile design with contour drawings
- inspired by Picabia's transparencies
- images dematerialize, independent of all perspective systems
- Neo-expressionism
○ Return to figurative art
- Takes from collages of Ernst, etchings from Goya
- Merges high and low culture
- Not collage (is all on the surface)
○ No repeated
○ Fragmented out of context
- Result of advancing capitalism


KIEFER
- apocalyptic paintings
- German and Jewish history
- explores the consequences of German history

SALLE
- used second-hand images in a new conception
- uses poses were typical of pornography, historical masterpieces, found objects and pop culture
- pastiche: assemblage of existing cultural elements to elicit an analytical response from the viewer

FISCHL
- his subjects move beyond a fascination with flesh and paint to become suggestions of alcoholism, voyeurism, onanism, homosexuality, and incest.
- painted middle-class angst
- Privilege comes with its own trappings
- References the Raft of Medusa

GOLUB
- expresses the world\s unhappy concerns: politics of power, insidious, corrupting effects of power without accountability
- focussed on the margins of society (the jungles of South America and Africa,
- shows the evil of torture and terrorism
- humanizes criminals and dehumanizing victims

SPERO
- wife of Golub
- also pursued political and social themes (Vietnam War)
- created friezes, unrolled scrolls, panoramas, of individual panels of print an collage
- maps a range of human experiences depicted through images of women
- Anti nuclear war
- Would draw directly on the walls of the gallery


TOD
- she has sold her self by selling her portrait
- How private ownership affects the art market

LUKAS
- Appropriated the styles of Caravaggio
- Historical and mythological references
- Men as skin heads
- Homosexuality vs heterosexuality
- Glorify the sexuality or the flesh

HARING
- Street art and graffiti
- Chalk drawings in a subway
- Simplified images
- Opposed to the par time in south Africa
- response to the AIDS crisis

BASQUIAT
- graffiti
- work expresses his frustration as a black artist ( African American artist trying to enter a white art world )
- African masks
- Transformed graffiti to paintings that were displayed in galleries
- Inscribing poems in buildings
- interested in jazz music

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