Choreography, Visual Art and Experimental Composition 1950s–1970s最新文献

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Conclusion 结论
Choreography, Visual Art and Experimental Composition 1950s–1970s Pub Date : 2022-02-02 DOI: 10.4324/9781003253556-9
E. Brannigan
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引用次数: 0
Exhibitions and Exclusions 展览及免责
Choreography, Visual Art and Experimental Composition 1950s–1970s Pub Date : 2022-02-02 DOI: 10.4324/9781003253556-8
E. Brannigan
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引用次数: 0
Between Dance and the Visual Arts 舞蹈与视觉艺术之间
Choreography, Visual Art and Experimental Composition 1950s–1970s Pub Date : 2022-02-02 DOI: 10.4324/9781003253556-1
E. Brannigan
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引用次数: 0
Dance and the Neo-Avant-Garde 舞蹈和新前卫艺术
Choreography, Visual Art and Experimental Composition 1950s–1970s Pub Date : 2022-02-02 DOI: 10.4324/9781003253556-5
E. Brannigan
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引用次数: 0
John Cage, Anna Halprin, and Dance as Contemporary Art 约翰·凯奇,安娜·哈尔普林,舞蹈作为当代艺术
Choreography, Visual Art and Experimental Composition 1950s–1970s Pub Date : 2022-02-02 DOI: 10.4324/9781003253556-2
E. Brannigan
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引用次数: 0
Choreographers and Artists 编舞和艺术家
Choreography, Visual Art and Experimental Composition 1950s–1970s Pub Date : 2022-02-02 DOI: 10.4324/9781003253556-6
E. Brannigan
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引用次数: 0
Dance and Minimalism 舞蹈与极简主义
Choreography, Visual Art and Experimental Composition 1950s–1970s Pub Date : 2022-02-02 DOI: 10.4324/9781003253556-4
E. Brannigan
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引用次数: 0
Robert Rauschenberg 罗伯特·罗森伯格
Choreography, Visual Art and Experimental Composition 1950s–1970s Pub Date : 2022-02-02 DOI: 10.4324/9781003253556-7
Erin Brannigan
{"title":"Robert Rauschenberg","authors":"Erin Brannigan","doi":"10.4324/9781003253556-7","DOIUrl":"https://doi.org/10.4324/9781003253556-7","url":null,"abstract":"expressionism was lofty and dramatic and created by older heterosexual men, the heroic nature of their practice was challenged by Rauschenberg who desired art that was married to life rather than to itself. Rauschenberg proposed flatbed or work-surface picture planes as the foundation of an artistic language that dealt with a new experience. The art critic Leo Steinberg described this period of Rauschenberg’s practice as the invention of a pictorial surface that allowed the viewer ‘back in’ amongst the elitist notions of abstract expressionism. Rauschenberg’s desire to use symbols and semiotics were incongruous with available types of pictorial surfaces that were too exclusive and homogenous. As a result, he moved away from the idea of the painting as a vertical surface towards a compositional method that Steinberg called the flatbed picture plane, upon which objects or images could be scattered. “Against Rauschenberg’s picture plane you can pin or project any image because it will not work as the glimpse of a world, but as a scrap of printed material. And you can attach any object, as long as it beds itself down on the work surface.” While the painting of the abstract expressionists was visionary and prophetic, Rauschenberg’s ability to accommodate recognisable objects and present them in a democratically understandable way was extremely revolutionary. Rauschenberg redirected the viewer's attention from the psyche of the painter onto the outside world. Branden Joseph described his artistic position as “anti expressive, anti subjective, and anti authoritarian” that was responsible for a broadening of cultural expression by introducing a radically different point of view. Rauschenberg rejected the concept of the metaphorisation of paint marks for conflict and struggle that was heralded by critics as the true genius underlying abstract expressionism. Instead, he used his materials in a neutral manner, attempting to present facts rather than representations. Using assemblage, he united real life objects, often of three dimensions, together with painting to present a more logical and transparent art. Rauschenberg termed these pieces as combine paintings, which lay between painting and sculpture, some hanging on the wall others resting on the ground. Canyon (1959) blurred these boundaries even further, incorporating elements that exist in real space, such as a eagle, protruding from the canvas, or subject to actual gravity like the pillow that hangs from the base of the piece. Rauschenberg mostly worked within “syncopated grid,” a formal structure where he weighted and 1 Leo Steinberg, “Reflections on the State of Criticism” in Robert Rauschenberg, Branden W. Joseph (ed.), Massachusetts Institute of Technology: Athens, GA, USA, 2002, p. 35 2 Ibid., p. 32 3 Branden W. Joseph, Random Order: Robert Rauschenberg and the Neo-AvantGarde, MIT Press: Cambridge, MA, USA, 2003, p. 67 composed lights, colours, and shapes. In Canyon he has the weight of the hangi","PeriodicalId":377296,"journal":{"name":"Choreography, Visual Art and Experimental Composition 1950s–1970s","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133977274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 5
Minimalism, Experience, and Experiment 极简主义,经验和实验
Choreography, Visual Art and Experimental Composition 1950s–1970s Pub Date : 2022-02-02 DOI: 10.4324/9781003253556-3
E. Brannigan
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引用次数: 0
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