ART APPRECIATION

FINALS
CONTEMPORARY ART – was heavily driven by  Multiple platforms: performance, theatrical
ideas and theories, and even the blurring of notions events, installation, and even painting
of what is and can be considered as ‘art’  YOSHIHARA JIRO (1952) – founder of
- With involvement of television, photography, Gutai Art Association or Gutai Group
cinema, digital technology, performance,  “Challenge to the Mud”
and even objects of the everyday 5. MINIMALISM (early 1960s, New York)
- Idea over visual articulation  Artists testing the boundaries of various
ART MOVEMENTS: AOKGMPNPCPIES media
1. ABSTRACT EXPRESSIONISM (early  EXTREME TYPE OF ABSTRACTION
1940s to mid-1960s) (favoured geometric shapes, color fields,
 Took the basic tenets of abstraction and and used of objects and materials)
combined with it with gestural techniques,  Favored COOL over DRAMATIC
mark-making, and a rugged spontaneity in  Painters and sculptors avoided overt
its visual articulation. symbolism and emotional content
 Still, Jackson, Pollock, Kooning, Newman,
Rothko
 Had the ability to convey and elicit
emotions
 2 TYPES:
a. ACTION PAINTING – underscored the
process of creation in that it showed the
physicality, direction and spontaneity of
actions (drips and strokes)
b. COLOR FIELDS – emphasized
emotional power of colors, vivid
demarcations to the more toned-down
transitions
2. OPTICAL ART OR ‘OP ART’ (early 1960s
onward)
 Relied on creating an illusion to inform the
experience of the artwork using color,
pattern, and other perspective tricks
 Showed certain kind of dynamism
3. KINETIC ART (early 1950’s onward)
 Components of artworks which were
predominantly sculptural, mobiles,
motor-driven machines
 ART AND TECHNOLOGY can be brought
together
4. GUTAI (1950s-1970s) - Japan
 Embodiment or concreteness, it preceded
the later forms of performance and
conceptual art
 Hold deeper desire to makes sense of the
relationship between body, movements and
spirit of their interaction during the process
of creation