1. 20th Century Review

2. SUMMARY – Modernism
emphasis on materials or expression instead of illusion
a notion of progress & evolution poet Ezra Pound: “Make it new."  results in lots of “isms”

3. TRENDS MONDRIAN PICASSO NOLDE PICASSO DUCHAMP ABSTRACTION
FLATTENING OF PICTORAL SPACE
PRIMITIVISM
EXPRESSIONISM
CUBISM
SURREALISM
MONDRIAN
PICASSO
NOLDE
PICASSO
DUCHAMP

4. Mondrian – 1940s BROADWAY BOOGIE WOOGIE, 1942-43 50 X 50 in.
ABSTRACTION
p. 394

5. Picasso Les Demoiselle d’Avignon 1907
CUBISM
PRIMITIVISM

6. Nolde, Dance Around the Golden Calf, 1910
EXPRESSIONISM
PRIMITIVISM
p. 396

7. Duchamp, La Boite en Valide (L.H.O.O.Q.), 1919
DADA
“appropriation”

8. Gropius – Bauhaus 1926

9. Mies van der Rohe Seagram Building 1957

10. Stravinsky
The Rite of Spring (Le Sacre du printemps) (1913; for very large orchestra)
-- a ballet with a story line written in part by an anthropologist
-- interested in primitive or exotic materials; what is behind the mask of civilization?

11. Stravinsky The Rite of Spring
-- radically new: non-tonal, harsh unresolved dissonance, percussive, brilliant orchestral effects, extreme ranges, rhythmically and metrically very irregular and quite innovative
-- a riot (somewhat staged) at its premiere; much publicity ensues

12. Schoenberg Listening example:
Etwas Rasch (somewhat fast) from Six Little Piano Pieces, Op. 19 (1911)
TEXTBOOK CD
Blue self-portrait, 1910

13. TRENDS CHAOS v. ORDER DISSONANCE “LIBERATED”
“PRIMITIVISM” – MORE GENERALLY: FOLK MUSIC, AN ALTERNATIVE TO STANDARD PATTERNS & FORMULAS
CHAOTIC SURFACES, CONSISTENT INNER WORKINGS
EXPRESSIONISM
CHAOS v. ORDER

14. SUMMARY – after WW2
MODERNISM CONTINUES – PROGRESS & MATERIALS; EACH WORK OF ART DICTATES ITS OWN TERMS [POLLOCK, abstract expressionism]
CONCEPTUAL ART – ULTIMATE CHALLENGE TO THE VERY IDEA OF ART, THE ULTIMATE CONCLUSION OF MODERNISM? [SMITHSON Spiral Jetty]
POST-MODERNISM – QUESTION NARRATIVE! [CHICAGO The Dinner Party]

15. Jackson Pollock, Lavendar Mist No. 1, 1950
compare p. 420

16. Robert Smithson Spiral Jetty, 1970
textbook p. 436
Robert Smithson Spiral Jetty, 1970

17. POMO CHARACTERISTICS OF POST-MODERNISM: QUOTATION, PASTISHE, COLLAGE
CHALLENGES AUTHORITY OF “MASTER” NARRATIVE
FOCUSES ON THE “CONSTRUCTED-NESS” OF NARRATIVE, AUTHORITY, REALITY (“deconstruction” is not just analysis)
see p. 431

18. Judy Chicago
I firmly believe that the absence of visual images from a female perspective attests to a more significant absence, one that impacts heavily upon women's sense of self. Whereas for men there is a presence in the public arena, for women there is primarily absence: an absence of political leaders on the highest level of world governments; an absence of public monuments honoring women heroes and leaders; and mirroring this, an absence in our museums of images that extend our personal experiences into cultural dialogue and, most important, convey our sense of ourselves as subjects rather than as objects. I felt this absence keenly when I tried to create an active vagina or vulval form to represent my sense of my own identity and sexuality. It took me years to create images that could convey the idea that the female body experience is as active and as central to what it means to be human as is that of the male and, in fact, can be explored aesthetically as one pathway to an understanding of the universal.
The incorporation of the vulval iconography was certainly intended to challenge the pervasive definitions of women and of female sexuality as passive. But, more significantly, in the context of this work of art, it implies that the various women represented, though separated by culture, time, geography, experience, and individual choices (not to mention that some are mythical, others real) are unified primarily by their gender, which in my opinion, is the main reason that so many were and are unknown.
p. 440

19. Gentileschi, Judith Slaying Holofernes, 1620
FAMOUS FEMALE ARTIST;
A CARAVAGGISTI

20. Hildegard of Bingen
Abbess, scholar, visionary, poet, musician, healer, spiritual leader
One of the earliest “named” composers in the European tradition

21. Listening example by Hildegard of Bingen, c.1150 large intervals
large or wide range (large ambitus)
this is NOT Gregorian chant

22. music summary ORDER & CHAOS
SURFACE CHAOS/INNER ORDER: Rite of Spring; serialism
SURFACE ORDER/INNER ORDER: minimalism (Reich, Music for 18)
SURFACE CHAOS/INNER CHAOS: chance methods (John Cage)

23. CAGE listening example
John Cage ( ), Sonata II from Sonatas and Interludes for Prepared Piano (19 pieces composed )
-- influenced by gamelan and other non-Western music

24. STEVE REICH Preferred the term “process music”
Formed his own ensemble to play pieces like Drumming and Music for 18 Musicians

25. JOHN ADAMS LISTENING EXAMPLE NIXON IN CHINA
an opera about Nixon in China
CD EXAMPLE
The Chairman Dances