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1	Homophobia, Coding And Jasper Johns January 2015 (has links) acase@tulane.edu Jasper Johns Homophobia Art School of Liberal Arts Art Masters
2	A Renegotiation of the Role of the Artist in the 1950s Era of Mechanical Reproduction: The Early Careers of Jasper Johns and Robert Rauschenberg Scoggins, Rebekah S 13 April 2012 (has links) Although Walter Benjamin argues printed materials are without traditional art authority or aura, Jasper Johns and Robert Rauschenberg’s work exists in the tradition of high art despite their use of mass-produced materials. Johns and Rauschenberg rely on the distracted attention of the viewer in the age of reproduction to engender reassessment of materials in their works. They use objects that contribute to the new distracted audience but create works that force the viewer toward intense contemplation; their works also combat trends Benjamin identifies to stake their claim as artists of original works while remaining relevant to the modern era. Johns merges print, mechanized reproduction, painting, and sculpture to subvert and reaffirm his place as the artist of an auratic object. Rauschenberg employs ready-mades, painting, printed materials, and sculpture in hybrid art works that unite mechanization with human facture to renegotiate and expose the overstimulation of reproduced objects within society. Jasper Johns Robert Rauschenberg Walter Benjamin Mass Production Materiality Mechanical Reproduction
3	Aldo Crommelynck (1931 - 2008) : un imprimeur de gravures entre Paris et New-York / Aldo Crommelynck ( 1931 - 2008) : an etching printer between Paris and New York Aynard, Emmanuelle 18 March 2017 (has links) Aldo Crommelynck (1931-2008) a animé l'atelier Crommelynck à Paris de 1956 à 1986, en compagnie de son frère Piero, puis a travaillé seul entre Paris et New York en partenariat avec Pace Editions, jusqu'en 1998. Sa collaboration avec les peintres modernes, dont Picasso à Mougins, a inauguré une carrière internationale auprès d'une quarantaine d'artistes contemporains. Sa maîtrise de l'eau-forte s'est intégrée au milieu artistique international, entre Paris, Londres et New York, dans un contexte profitable au marché de l'art. Son nom est associé à un mouvement de retour à la tailledouce qui coïncide avec le goût des artistes issus du Pop pour le travail de la main et pour la figuration du quotidien. D'autres, issus du minimalisme et du néo-expressionnisme, verront en lui le dépositaire d'un certain métier de la gravure identifié à Paris. Cette thèse entend déterminer ce que fut le «style Crommelynck», dans toutes ses dimensions. / Aldo Crommelynck (1931-2008) run the Crommelynck studio, in Paris from 1956 to 1986, with his brother Piero, and then worked alone between Paris and New York in partnership with Pace Editions until 1998. His collaboration with modem painters, including Picasso in Mougins, preceded his international career with forty or so contemporary artists. His mastery of etching well integrated into the artistic world of Paris, London and New York, in a context profitable to the art market. His name is associated with the revival of printmaking in the United States that coincided with the taste of the artists coming from Pop Art for handmade creation and for the representation of daily life. Others, who came afterwards, impregnated with Minimalism or Neo-expressionism, saw him as the repository of a certain etching craft identified with Paris. This thesis intends to determine what was the « Crommerlynck style » in all its dimensions. Aldo Crommelynck Paris New-York Eau-forte Pablo Picasso Richard Hamilton Jim Dine Jasper Johns Gravure contemporaine Aldo Crommelynck Paris New York Aquatint Pablo Picasso Richard Hamilton Jim Dine Jasper Johns Contemporary engraving 709.04
4	Barbro Östlihn och New York : Konstens rum och möjligheter Öhrner, Annika January 2010 (has links) The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework. Barbro Östlihn post war art history American post war art history Swedish art history pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Barbro Östlihn post World War II Art History American post World War II art Swedish Art History pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Art Konstvetenskap

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