1. Chapter Twenty-Two The Contemporary Contour Culture and Values, 6 th Ed. Cunningham and Reich

2. Toward a Global Culture Artistic satire of modern warfare Heller, Pynchon, Kubrick Global economy, New World Order Economic, social inequities Search for individual, social meaning Social, political oppression Artist as voice of protest, hope

3. ExistentialismExistentialism Kierkegaard (1813-1855) Autonomous individual, self-examination Who am I? What am I doing here? Where am I going? Sartre (1905-1980) Implications of atheism Individual place, freedom, ethics

4. ExistentialismExistentialism Thought + Action Multi-media expression Emphasis on anxiety, alienation Existentialist theater, fiction Beat poets as existentialists Camus’ absurdity of the world

5. Painting Since 1945 International dilution of American art Refugee teachers, artists Peggy Guggenheim Americanization of modern art Artists of tradition Hopper’s Nighthawks (1942) O’Keeffe’s Poppy (1927)

8. Painting Since 1945: Abstract Expressionism Devoid of recognizable content Subjective aesthetic experience Line, color, shape Action Painting, New York School Jackson Pollock (1912-1956) Radical break from tradition “overall” painting

10. Painting Since 1945: Abstract Expressionism Color field paintings Color detached from imagery Artistic goals Break with other conventions of art Feeling, not seeing

12. Painting Since 1945: The Return to Representation Consideration of the object Jasper Johns (b. 1930) Robert Rauschenberg (b. 1925) John Cage’s “Happenings” Combine paintings Andy Warhol Pop Art, popular culture, consumerism

15. Painting Since 1945: The Return to Representation “Hard edges” Geometrically precise Minimalists Ascetic use of line, color Photorealists Classical draftsmanship

17. Painting Since 1945: The Return to Representation Distinctively personal art Racial, religious heritage Bearden, Lacy Smith’s Indian, Indio, Indigenous (1992) Technical concerns Rothenberg’s texture, Cabin Fever (1976)

20. Contemporary Sculpture Continuity + Experimentation New materials, technical skills David Smith (1906 – 1965) Alexander Calder (1898 – 1976) Assemblage Disparate materials  Organic wholes Nevelson, Cornell, Segal, Kienholz

24. Contemporary Sculpture Claes Oldenburg (b.1929) Humorous, mocking, Surreal Henry Moore (1898-1986) Primordial realities of art Life, death, sexuality

25. Contemporary Sculpture The modern patron, accessible art Vietnam Veterans Memorial Social statements made through media Christo, Abakanowicz Bartlett, Hanson, Frank Paik, Whiteread

27. Architecture Louis Sullivan (1856-1924) “Form follows function” Frank Lloyd Wright (1869-1959) Function is accomplished through form Organic architecture Flow of space vs. obstruction of space Guggenheim Museum (1957-1959)

29. Architecture Buildings as sculpture New materials, flexibility and creativity Saarinen, TWA Flight Center, New York Utzon’s Opera House, Sydney, Australia Counterpoint to nature Le Corbusier’s large housing units

31. ArchitectureArchitecture Bauhaus design “Less is more” Crisp design, imaginative use of material Seagram Building, National Gallery of Art The Pompidou Center Industrial design Garishness, nervous energy

33. ArchitectureArchitecture Postmodernism Classical motifs, Bauhaus severity 1201 Third Avenue, Seattle Seattle Art Museum American Center in Paris The New Tate Getty Center Millennium Park

34. Trends in Contemporary Literature Human search for meaning Experiences of the war The American Experience Literature of social, political protest Postmodernist writing Mastery of and extension beyond tradition

35. New Music Since 1945 Avant-Garde Developments Greater complexity, new sound Structuralists Precise organization, control Devoid of subjective emotional expression Electronic music, synthesizers Aleatoric Music, “sound events” John Cage (1912-1992)

36. New Music Since 1945 The New Minimalists Reich’s The Desert Music (1983) Repetitions of simple chords, rhythms State of heightened concentration Philip Glass (b. 1937) Influenced by non-Western music Repeating modules Operas as “happenings”

37. New Music Since 1945: Traditional Approaches to Modern Music Innovative approach to symphony Dimitri Shostakovich (1906-1975) Political commentary, nature of death Traditional symphony orchestra Benjamin Britten (1913-1976) Violence of contemporary life Opera genre Inspired by earlier masterpieces

38. New Music Since 1945 Popular Music Rooted in Western musical traditions Tangled interrelationship of genres Medium reflects social change, turmoil Concerts as multi-media “happenings” Social document, record of past Communication revolution

39. Chapter Twenty-Two: Discussion Questions With contemporary art in its various forms, to what extent is the medium the message? What does the composition of the art itself contribute to the artist’s theme, message, or primary emotion? Explain, citing specific examples. The evolution of Western artistic traditions reveals subtle changes in the ways in which the role of the artist is perceived. What is the role of twenty-first-century artists? How is this role different than/similar to artists from other historical epochs? Explain. As an individual living in the twenty-first century, what artistic form or genre most appeals to you? Why? Do you prefer to view art as a reflection of your personal values (subjectively), or is your attraction to art one of an objective nature? Explain, citing specific examples when appropriate.