Origin catalogue

COFFEE

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ART

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MARKET

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INSPIRE

FOR THE TRIFFID, F.V. 2017

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LEARN

CONTENTS KARA WALKER.........................................................................................................................................................................................4 VINCENT VAN GOGH............................................................................................................................................................................6 EUGENE DE SALA..................................................................................................................................................................................9 EDWARD HOPPER ..............................................................................................................................................................................10 AUGUSTE RENOIR.............................................................................................................................................................................. 13 ÉDOUARD MANET................................................................................................................................................................................ 15 ELLSWORTH KELLY.............................................................................................................................................................................16 RENE MAGRITTE...................................................................................................................................................................................19 ADOLF HITLER.......................................................................................................................................................................................20 CLAUDE MONET................................................................................................................................................................................... 23 FRANK STELLA...................................................................................................................................................................................... 25 SOL LEWITT............................................................................................................................................................................................. 26 VASILY KANDINSKY...........................................................................................................................................................................28 KATSUSHIKA HOKUSAI....................................................................................................................................................................30 EDGAR DEGAS....................................................................................................................................................................................... 32 THOMAS GAINSBOROUGH............................................................................................................................................................ 35 THE BREAKFAST CLUB..................................................................................................................................................................... 37 REFERENCES..........................................................................................................................................................................................48

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IT’S ALL BEEN DONE BEFORE Hosted by Billy Blue College of Design at the Triffid Fortitude Valley has been developed to bring attention to the prolific consumption of items containing appropriated articles in Western Culture today.

Appropriation in art is when borrows images from popular culture, advertising, mass media, and other artists, and integrates them into new works of art. (Landes 2000).

This practice is not new, we see in the 1960s this trend rise, reviving Foucault and Barnes theories of ownership and authorship, namely that they are dead notions and instead hopes to empower the reader/viewer (Irvin 2005; & Moma. org 2017).

These early appropriation artists copied works by other artists, with little to no alteration and presented these works as their own (Irvin 2005).

The work of these type of artists continues today, and it might further give evidence that the author has no hold over their creation. Foucault asks what does it matter who is speaking? Yet when the origin is found, and that origin and context is disturbing or unappreciated, do you really want to hear what the artist has to say and in turn join them in that message as the purchaser? (Irvin 2005).

In order to discuss this issue with the audience, The Origin Exhibit has two phases. The first phase consists of a market where articles with appropriated works were sold. The market consisted of 18 tote bag designs, 6 coffee cups, 8 t-shirts, 22 postcard and 18 posters with limited prints designed specially for the exhibition. Most prints were carried over the different mediums, and then other designs were specific to one. This phase was used to prepare the audience for the conversation that the exhibit wished to have with them, and reveal that they were not immune to the temptation of postmodern fancies.

The second phase would take place in the main audience room of The Triffid. It would house all the original works used in the designs of the merchandise with a label detailing their artists contribution to the art world and their notable other achievements. The intention was to critically analyse the pure aesthetic attitude of today, by providing context, and hopefully grow a desire for context. A significant example from the exhibition would be Adolf Hitler’s watercolour painting that would be applied to all mediums and sold at the market. Upon realisation that the patron had purchased an item associated with Hitler, and that it seamlessly fit into the aesthetic of the market stall and no one noticed; it’s understandable and desired that their idea and relationship with the item will change. The aim is to cause them to think

about the origin of simular articles and what message they send when you associate themselves with them.

The exhibit will be held at The Triffid because of its affiliation with millennial generation, the main culprits and intended targets for these appropriation stained items.

Adding to the works in the main audience room, the foyer will be converted to a movie room running a well-known film, the Breakfast Club, and its movie and TV spin offs playing in unison on loop. This will further emphasis the repetition, lack of ‘originality’, appropriation and redundancy of current pop culture.

The artistic elements used throughout the ‘Origin Exhibit’ identity consist of bold minimal features, a circle, symbolising a period point and also an endless loop, emphasising the tag line: Its all been done before. The logo contains the word ‘ORIGIN’ with a slight accent of the ‘R’s leg, and the word “EXHIBT” in a display font that separates the word horizontally indicating the gap between origin and these copies. Finally the tagline of ‘It’s all been done before’ reinforces this notion of origin and itself originates from Ecclesiastes 1:9: “What has been will be again, what has been done will be done again; there is nothing new under the sun.” (NIV) The typography of the exhibition displays a modern, minimal, clean aesthetic. The main title is in Gotham, is a bold geometric sans-serif, which represents clean and modern. The subheading “EXHIBIT” is in Lombok a font that contains sharp lines and incomplete letters- a really modern font experimenting with form and legibility. To colour scheme consists of mainly black and white, with the artworks remaining the focus, again clean and modern.

The redesigned works for exhibitions are in the same vein as current popular culture in the hope of emulating the current practices by some artists, and attract the patrons to purchase them; all funds raised will go to charity.

The aim of this exhibition has been to bring attention to the prolific consumption of items containing appropriated articles in Western Culture today. This gallery hopes to do this by first tempting the patrons to purchase items the appropriated works applied to them and then introduce them to the artists and works that they just bought. The hope is that it will encourage a more discerning audience, but also build a culture of respect for authorship. This gallery by no means expects this to change the culture of millennial Brisbane but start a much needed conversation with it’s youth.

Kara Walker “American … cut-paper silhouettes depicting historical narratives haunted by sexuality, violence, and subjugation…. also used drawing, painting, text, shadow puppetry, film, and sculpture to expose the ongoing psychological injury caused by the tragic legacy of slavery. Her work leads viewers to a critical understanding of the past while also proposing an examination of contemporary racial and gender stereotypes.

She made her New York debut in a 1994 group exhibition at the Drawing Center with the 25-footlong wall installation Gone: An Historical Romance of a Civil War as It Occurred between the Dusky Thighs of One Young Negress and Her Heart (1994). Its caricatured antebellum figures, which are engaged in violent and sexual interactions, were silhouettes cut from black paper and installed directly on the wall. The silhouette technique has its roots in the sentimental Victorian “ladies’ art” of shadow

360-degree historical cycloramas popular during the postCivil War era for the depiction of battle scenes.… explore the nature of race representation as well as the history of figuration and narrative in contemporary art...” (Walkerart.org 2017).

portraits, but the scale of Walker’s work also alluded to the

Right (for Linol Com cm) Abov From (Ann Offse Som Purc Class Fund MH

t: Boo Hoo 2000 Parkett no. 59) leum cut mposition: 36 5/8 x 18 1/4” (93 x 46.3 Sheet: 39 3/4 x 20 1/2” (101 x 52 cm) ve: m Harper’s Pictorial History of the Civil War notated), 2005 plates; 2005 prints et lithography and silkscreen on merset textured paper chase with the Susan and Bernard Schilling (Susan Eisenhart, s of 1932) Fund and the Belle and Hy Baier Art Acquisition d 2012.14.1-15

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Vincent van Gogh “Vincent van Gogh was a wonderfully accomplished

months, the relationship with Gauguin was in ruins, coming

artist whose work is now widelyappreciated. He created

to a dramatic end when Van Gogh cut a piece off his own ear.

a great number of masterpiece paintings and drawings

He was admitted to hospital in Arles. In early January 1889,

in just one decade devoted toart. His productivity is even

he returned to the Yellow House, but a petition by the local

more remarkable when considered in the context of his

citizens claimed that he was mentally unstable and a risk to

debilitating illness. Hesuffered from medical crises that were

public security. As a result, he was apprehended by the police

devastating, but in the intervening periods he was both lucid

and readmitted to hospital.

andcreative. He left a profound, soul-searching description of his jagged life in his correspondence, whichprovides the basis for the present analysis. An inherited metabolic disease, acute intermittent porphyria…

On 17 April 1889, Theo married Jo Bonger, and in May, Vincent moved voluntarily to Saint-Paul-de-Mausole Asylum in St. Remy, not far fron1 Arles. There, despite suffering a series of attacks, mainly of an epileptic nature, he continued

The Illness of Vincent van Gogh (PDF Download

to paint. On 31 January 1890, Theo and Jo had a son and

Available). Available from: https://www.researchgate.net/

named him for his uncle, Vincent Willem; in May, Vincent left

publication/8345093_The_Illness_of_Vincent_van_Gogh

St. Remy and n1oved to the village of Auvers-sur­Oise, close to

[accessed Aug 8, 2017].

Paris. He took a room at an inn and became friendly with Dr.

in 1888, he headed south, to Arles, where he set up house (in the “Yellow House”) and sought inspiration fro1n the local people and landscape, which he thought resembled Japan. But his utopian dream soon disintegrated; within two

Paul Gachet, a physician who was also an art collector and an amateur painter. A few 1nonths later, on 27 July 1890, Vincent suffered a gunshot wound to the stomach, which he said was self-inflicted” (Grant 2014).

Above: Wheat Field with Cypresses 1889 Oil on canvaas 28 7/8 × 36 3/4 in. (73.2 × 93.4 cm) Purchase, The Annenberg Foundation Gift, 1993. the MET Right: The Starry Night 1889 Oil on canvas 29 x 36 1/4 in. (73.7 x 92.1 cm) MoMA

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Eugene de Sala “[Also known as] Osvald Lykkeberg Salomonsen, born in Randers in 1899, but known as rebel under the French artist name Eugène de Sala Exhibition of a distinctive and distinctive character in Danish modernism, Eugène de Sala. Sala, as one of the first Danish artists in the 20th century, acquires a number of the new French forms of expression and imports them into Copenhagen. He is referred to as “Denmark’s first surrealist”, as an expressionist, cubist, constructivist and dadaist! But also as “Denmark’s first punk” on roller skates with green hair, white-red face and red lips appear in the 1920s art scene. The story of Eugéne de Sala is also the story of an artist on the edge with the rest of the established Danish art world, and about a virtuoso provocateur who could paint almost anything and did not hide the inspiration sources...”

(Randerskunstmuseum.dk. 2017)

Still life with flowers, teapot and books 1899 - 1987 Oil on canvas 25.5 x 32 in. (64.8 x 81.3 cm.)

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Edward Hopper “Edward Hopper widely acknowledged as the most important realist painter of twentieth-century America. But his vision of reality was a selective one, reflecting his own temperament in the empty cityscapes, landscapes, and isolated figures he chose to paint. His work demonstrates that realism is not merely a literal or photographic copying of what we see, but an interpretive rendering.

Edward Hopper was born in 1882, in NY, into a middle class family…. Upon completing his schooling, he worked as an illustrator for a short period of time; once this career path ended, he made three international trips, which had a great influence on the future of his work, and the type of art he would engage in during the course of his career. He made three trips to Europe between 1906 and 1910.

In retrospect, Europe meant France, and more specifically, Paris, for Edward Hopper. This city , its architecture, light, and art tradition, decisively affected his development.

In 1910 Hopper returned to the United States, never to leave North America again. During the 1910s, Edward Hopper struggled quite a bit to gain any recognition for the works he had created. …

At the age of 37, Edward Hopper received his first open invitation to do a one person exhibit, featuring some of this finest pieces of art. 16 pieces of his work were shown at the Whitney Club, and although none of the pieces were sold at this exhibit, it did point his career in a new direction, it got his art work out to the general public, and he became a more notable name in the type of work and the art forms which he most wanted to focus his career on, for the future works he would create.

A few years later, Edward Hopper found his career had taken a turn for the better, and he was doing well in sales, and financially with the works he had created. He was invited to do a second one person exhibit, to feature new works, and to create a buzz about the work he had created in recent years. The Frank KM Rehn Gallery in NYC, was where this second exhibit took place, and it received far more attention and a much larger crowd, due to the location where the exhibit was taking place, and also because of the fact that more people were now aware of the works Edward Hopper had created.….

The themes of the tensions between individuals and the conflict between tradition and progress in both rural and urban settings, are subjects that Edward Hopper always returns to, as artists have always returned to their beloved themes - Van Gogh his Sun Flowers, and Monet his Water Lilies. …his constant battle with the chronic boredom that often stifled his urge to paint. …

In the 1940s and 1950s, Hopper found himself losing critical favor in the wake of Abstract Expressionism. … Hopper never lacked popular appeal, however, and by the time of his death in 1967, Hopper had been reclaimed as a major influence by a new generation of American realist artists” (Edwardhopper.net 2017).

Nighthawks, 1942 Oil on canvas 84.1 x 152.4 cm (33 1/8 x 60 in.)

Friends of American Art Collection, 1942.51 Art Institute of Chicago

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Auguste Renoir “Auguste Renoir was a far more complex and thoughtful painter than generally assumed. He was a founding member of the Impressionist movement, nevertheless he ceased to exhibit with the group after 1877. From the 1880s until well into the twentieth century, he developed a monumental, classically inspired style that influenced such avant-garde giants as Pablo Picasso.

wealthy society lady Madame Georges Charpentier (07.122), Renoir painted all of his patrons with affectionate charm. ….

His doubts about the spontaneity and impermanence of the Impressionist aesthetic led him to refuse to participate in the fourth Impressionist exhibition in 1878. Instead, Renoir decided to look back to the old masters for an art of structure, craft, and permanence. … Renoir left for Italy in 1881

Renoir began his artistic career as a porcelain painter;

to continue his self-education in the “grandeur and simplicity

however, his ambitions to become a professional artist

of the ancient painters.” He returned enamoured of Raphael

prompted him to seek other instruction. He began copying

and Pompeii and his figures consequently became more

paintings at the Louvre in 1860 and eventually entered the

crisply drawn and sculptural in character (29.100.125). …

studio of the academic artist Charles Gleyre, where he met Claude Monet, Frédéric Bazille, and Alfred Sisley. The four friends soon began painting in the forest of Fontainebleau, although Renoir always remained dedicated to figure painting and portraits…. This painting campaign catalyzed the development of the Impressionist aesthetic (1974.356.32).

After several of his paintings were rejected by the Salon in the early 1870s, Renoir decided to join Monet in establishing an independent artist’s society. The Impressionists, as they were called, sought to capture modern life and Renoir’s works from this period focused on everyday people, streets, and surroundings (61.101.14; 1974.356.34). …

Renoir’s penchant for portraiture attracted the attention of a range of patrons with avant-garde sensibilities. From the politically radical pastry cook Eugène Murer (2003.20.9) to the

Dance at Le Moulin de la Galette 1876 Oil on canvas 52 x 69 in (131 x 175 cm) Musée d’Orsay, Paris

In the early twentieth century, despite old age and declining health, Renoir persisted in artistic experimentation.

He took up sculpture, hiring a young assistant and collaborator, Richard Guino, to create models after his designs. … During this period, Renoir lived mostly in the south of France near the Mediterranean coast. His physical deterioration was the impetus for this change of climate...” (Kang 2000).

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Édouard Manet IT’S ALL BEEN DONE BEFORE “Édouard Manet- the eldest son of an official in the French Ministry of Justice—had early hopes of becoming a naval officer. After twice failing the training school’s entrance exam, the teenager instead went to Paris to pursue a career in the arts. There he studied with Thomas Couture and diligently copied works at the Musée du Louvre.

to Spain in August 1865…

After being rejected from the Salon of 1866 and learning that he was to be excluded from the Exposition Universelle of 1867 as well, Manet grew anxious to find an audience for his art. He used his inheritance to construct a pavilion across the street from one of the entrances to the Exposition Universelle.

… His hopes for continued early success were dashed at

… Émile Zola, had published a lengthy and glowing article

the subsequent Salon of 1863. That year, more than half of

about Manet. “The future is his,” Zola proclaimed. He insisted

the submissions to the official Salon were rejected, including

that the much-maligned Déjeuner sur l’herbe (which was

Manet’s own. … While critics recognized that this scene of

included in Manet’s 1867 exhibition) would one day hang

modern-day debauchery was, to a certain degree, an updated

in the Louvre. Zola proved prophetic; it took almost seventy

version of Titian’s Concert champêtre (a work then thought

years, but the painting entered the collection of the Louvre

to be by Giorgione; Musée du Louvre, Paris), they ruthlessly

(now Musée d’Orsay) in 1934.…

attacked Manet’s painting style.

When Manet’s health began to deteriorate toward the end

Manet’s submissions to the Salon of 1864 were again

of the decade, he was advised to take a cure at Bellevue. In

condemned by critics, who found errors of perspective

the summer of 1880, he rented a villa in that Parisian suburb,

in his Incident at a Bullfight (fragments of which are now

and he painted his last portrait of his wife, the Dutch-born

at the National Gallery of Art, Washington, D.C., and the

pianist Suzanne Leenhoff, in the villa’s garden (1997.391.4). The

Frick Collection, New York) and a lack of decorum in The

following spring, he won a second-class medal at the Salon

Dead Christ and the Angels (29.100.51). The latter picture, in

for his portrait of Henri Rochefort (Kunsthalle, Hamburg), and

particular, was denounced for its realistic touches, such as

in the fall he was made a Chevalier of the Legion of Honour.

the cadaverous body of Christ and the seemingly human

He continued to work until his premature death in April 1883.

angels. It was argued that the painting lacked any sense of spirituality; the figure of the battered Christ was said to more closely resemble the body of a dead coal miner than the son of God.

Within a year, a posthumous exhibition of 179 of his paintings, pastels, drawings, and prints was organized at the École des Beaux-Arts, the officially sanctioned art school.

At least one critic commented on the irony of the location

Despite his efforts, Manet’s modern scenes remained a

for an artist whose works had been ridiculed and refused

target of criticism throughout the decade. Olympia (Musée

by so many Salon juries. It seems unlikely that Manet would

d’Orsay, Paris) was considered the most shocking work in the

have minded. He himself wrote that he had “no intention of

1865 Salon. Its debt to Titian‘s Venus of Urbino (Gallerie degli

overthrowing old methods of painting, or creating new ones.”

Uffizi, Florence) only accentuated the wide gulf of public

The critic Louis Gonse viewed things slightly differently.

opinion vis-à-vis a reclining nude woman as subject matter:

“Manet is a point of departure, the symptomatic precursor of

a goddess was perfectly acceptable, but a contemporary

a revolution,” he wrote. To this day, Manet is still considered by

prostitute awaiting her client was not.

many art historians to be the father of modernism” (Rabinow

Dejected by the critical response to his art, Manet traveled

Boating 1874 from the Thirty-six Views of Mt Fuji series Oil on canvas 38.3 × 51.3 in (9 7.2 × 130.2 cm) Metropolitan Museum of Art, NY

2000).

Ellsworth Kelly Blue and Yellow and Red-Orange “Ellsworth Kelly was an important American abstract artists

who

created

brilliant

modular

canvases

and

spectacular outdoor sculptures in steel …created sharply defined compositions that were, at least initially, linked to his visual experiences – “a window, or a fragment of a piece of architecture, or someone’s legs ...” In the early 1950s, his style anticipated the unbroken colours and clear lines of hard edge painting by some years.

canvases, one reversed and the other painted white, inside a black frame. It is an early example of Kelly’s multipanelled compositions, which were partly inspired by Renaissance polyptychs,

especially

Matthias

Grünewald’s

Isenheim

altarpiece. But they were intended above all to emphasise their own material rather than representational or expressive qualities. As Kelly put it, they are simply “objects, unsigned, anonymous”.

Although he was associated with a number of movements,

This emphasis on the accidental also inspired the

including minimalism in the 1960s, Kelly remained resolutely

painting Spectrum Colors Arranged By Chance (1951-53) and

independent, combining his austere sense of form with a

the “exquisite corpse” drawings made in 1950 with Ralph

unique, sunstruck palette.

Coburn, an expatriate friend from Boston. By the end of his

… As well as encouraging her son’s lifelong interest in ornithology, she gave him an inspiring art book when he was in his teens, though she later disapproved of his career choice.

He reached adulthood during the Second World War, and, after a technical education at the Pratt Institute in Brooklyn, served in a camouflage battalion in Maryland and Tennessee before joining the allied forces in France… …. At the end of the war, Kelly began his artistic education, which was paid for by the state under the GI bill.

During this period, Kelly rapidly moved from the naturalism of his striking Self-Portrait With Thorn of 1947 through a series of hieratic, expressionistic figures to almost entirely abstract, often monochrome paintings. Many of his works are modelled on architectural fragments: Mandorla, of 1949, derives from the upper facade of the 12th-century cathedral in Poitiers, while the shadows of railings on steps determined the pattern of the La Combe series of 1950-51.

Kelly described how, when visiting the Museum of Modern Art in Paris in 1949, he was influenced more by the windows than by the images that hung between them. The resulting drawing led to a highly abstracted picture consisting of two

stay in France, Kelly had created some classic compositions of coloured rectangles with repeated modular forms, as in Red Yellow Blue White and Black with White Border (1952-53). But success and prosperity eluded him. He took a variety of jobs, from art teacher and night watchman to textile designer, before suffering an attack of jaundice in 1954. He decided it was time to go home.

His fame was developed by his relationships with the Betty Parsons and Sidney Janis galleries, and he was frequently associated with fashionable contemporaries such as the hard edge painters, who included his friend Jack Youngerman.

Kelly was also linked to minimal art, though his approach was quite distinct from that of Frank Stella, who bluntly declared, “what you see is what you see”.

Masters, C. (2015). Ellsworth Kelly obituary. [online] the Guardian. Available at: https://www.theguardian.com/ artanddesign/2015/dec/28/ellsworth-kelly [Accessed 8 Aug. 2017].

Mr. Kelly suffered from emphysema, the result of long exposure to turpentine and paint fumes. A small device was used to monitor his oxygen levels” (Nytimes.com 2017)

Blue and Yellow and Red-Orange (Bleu et jaune et rouge-orange) , ca. 1964–1965 from the Thirty-six Views of Mt Fuji series color lithograph 25.2 x 13.3 in (64 x 33.7 cm) Lent by the American Fund for the Tate Gallery, courtesy of Melinda Shearer Maddock 2001.

TATE

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Rene Magritte “This Belgian surrealist who died in 1967 is forever contemporary; his paintings have never gone stale and never will.They are insidious conundrums that can never be solved, and the 21st century just can’t resist puzzling over them. …It’s because he undermines our philosophical assumptions about the nature of reality more pithily than a truckload of conceptual artists … Magritte belonged to the surrealist movement…

Perhaps that is part of Magritte’s point. We exist, and then we don’t.The world will be there when we are gone.The dull factuality of physical things does not need human perception to make it persist. Thinking about this through Magritte’s eyes becomes terrifying: that when you leave your home and lock the door all the objects in it still exist, unconcious as they are, without any need to be known, to be seen, by a conscious human.

That’s one eerie way of looking at it, but there is no easy way to “decode” a Magritte painting. His art placidly and calmly asks terrifying questions about the solid things we take for granted” (Jones 2016)

Top Left: Good Faith (La bonne foi)1965 from the Thirty-six Views of Mt Fuji series Oil on canvas Private Collection Top Right: The Son of Man (Le fils de l’homme) 1964 Oil on canvas 89 x 116 cm Private Collection

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Adolf Hitler ORIGIN REVEALED

“Adolf Hitler was an artist—a modern artist, at that—and

The young Hitler was wild for Wagnerian opera, stately

Nazism was a movement shaped by his aesthetic sensibility.

architecture, and inventive graphic art and design. His

Cosmopolitan Vienna incubated his peculiar genius as well

taste in painting was—and remained—philistine. He swore

as his hideous ideas. … A forthcoming book, “Hitler and

by Eduard von Grützner, a genre painter of jolly, drunken

the Power of Aesthetics,” by Frederic Spotts, promises an

Bavarian monks. Hitler’s own stilted early efforts were the

interpretation of Hitler as “a perverted artist.” …. It won’t alter

work of a provincial tyro who was ripe for instruction that he

our moral and political judgments of Hitler, whose crimes

never received. (The show includes a rather nice watercolor

remain immeasurable, but it sure shakes up conventional

of a mountain chapel, from a commission that was secured

accounts of modern art.

for him by Samuel Morgenstern, a Jewish dealer.) As with

Hitler was eighteen years old when, in 1908, he moved from Linz and took up residence in Vienna. He walked the same streets as Freud, Gustav Mahler, and Egon Schiele, but he did so as one of the city’s faceless, teeming poor.

He often slept in a squalid homeless shelter, if not under a bridge. Intent on becoming an artist, he twice failed the art academy’s admission test; his drawing skills were declared “unsatisfactory.” A thin, sallow youth, he wasn’t cut out for physical labor. With help from a friend, he earned a meagre

any drifting young life, Hitler’s might have gone in a number of ways. The most exasperating missed opportunity was the possibility of working under the graphic artist and stage designer Alfred Roller, a member of the anti-academic Secession movement whose sets for the Vienna Court Opera’s productions of Wagner, which were conducted by Mahler, foreshadowed Nazi theatricality. With a letter of introduction to Roller, Hitler approached the great man’s door three times without mustering the nerve to knock. …

living drawing postcard views of Vienna and selling them

“ Indeed, the show leaves no doubt that Nazism was

to tourists. Jews were among his companions and patrons.

a singular invention and that Hitler was its indispensable

Although he was fanatically pan-German—caught up in

author. Without him, Fascism might well have succeeded in

visions of an expanded Germany, which would incorporate

Germany, but nothing foreordained Nazism’s blend of dash

Austria—he had laudatory things to say about Jews at the

and malice, its brilliant technology and skulking atavism. It

time. He proved, however, an apt pupil of the city’s rampant

seems clear that Hitler employed artistic means—hypnotic

strains of anti-Semitism, which exploited popular resentment

oratory, moving spectacle, elegant design—not just to gain

of the wealthy Jewish bourgeoisie that had arisen under

power but to wield it in the here and now. …

Franz Josef I, the conservative but clement—and, effectively, the last—Hapsburg emperor. Hitler studied the spellbinding oratorical style of the city’s widely beloved populist, antiSemitic mayor, Karl Lueger.

….The Williams show rebuts the comfortable sentiment that Hitler was a “failed artist… He was also deluded. He had no vision of the future apart from ever-grander opera” (Schjeldahl 2002)

Kaitersberg a.d. donau bei wien aquarell 1911 Water colour

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Claude Monet Nympheas

“Claude Monet was a key figure in the Impressionist

modeling. He brought a vibrant brightness to his works by

movement that transformed French painting in the second

using unmediated colors, adding a range of tones to his

half of the nineteenth century. Throughout his long career,

shadows, and preparing canvases with light-colored primers

Monet consistently depicted the landscape and leisure

instead of the dark grounds used in traditional landscape

activities of Paris and its environs as well as the Normandy

paintings.

coast. He led the way to twentieth-century modernism by developing a unique style that strove to capture on canvas the very act of perceiving nature.

of day. Light and shadow seem as substantial as stone in his

…His classmates included Auguste Renoir, Frédéric Bazille, and other future Impressionists. Monet enjoyed limited success in these early years, with a handful of landscapes, seascapes, and portraits accepted for exhibition at the annual Salons of the 1860s. Yet many of the rejection of his more ambitious works, notably the large-scale Women in the Garden (1866; Musée d’Orsay, Paris), inspired Monet to join with Edgar Degas, Édouard Manet, Camille Pissarro, Renoir, and others in establishing an independent exhibition in 1874. Impression: Sunrise (1873; Musée Marmottan Monet, Paris), one of Monet’s contributions to this exhibition, drew particular scorn for the unfinished appearance of its loose handling and indistinct forms. Yet the artists saw the criticism as a badge of honor, and subsequently called themselves “Impressionists” after the painting’s title, even though the name was first used derisively. … Monet often worked directly on large-scale canvases out of doors, then reworked and completed them in his studio.

His quest to capture nature more accurately also prompted him to reject European conventions governing composition, color, and perspective. Influenced by Japanese woodblock prints,

Monet’s

asymmetrical

arrangements

of

forms

emphasized their two-dimensional surfaces by eliminating linear

perspective

and

…. In each series, Monet painted the same site again and again, recording how its appearance changed with the time

abandoning

Left: Nympheas 1897–1898 Oil on canvas 26 x 41 in (66 x 104.1 cm) Los Angeles County Museum of Art Above Left: The Seine at Giverny 1897 Oil on canvas 32 1/16 × 39 9/16 in (81.4 × 100.5 cm) National Gallery of Art, Washington D.C. Right: Poppies (Coquelicots, La promenade) 1873 Oil on canvas 19.7 × 25.6 in (50 × 65 cm) Musée d’Orsay, Paris

three-dimensional

Rouen Cathedral …

In the 1910s and ’20s, Monet focused almost exclusively on the picturesque water-lily pond (1983.532) that he created on his property at Giverny. His final series depicts the pond in a set of mural-sized canvases where abstract renderings of plant and water emerge from broad strokes of color and intricately built-up textures. Shortly after Monet died (a wealthy and well-respected man at the age of eighty-six), the French government installed his last water-lily series in specially constructed galleries at the Orangerie in Paris, where they remain today” (Auricchio 2000).

Nov. 2017

Frank Stella “After attending high school at Phillips Academy in Andover, Massachusetts, he went on to Princeton University, where he painted and majored in history. Early visits to New York art galleries would prove to be an influence upon his artistic development. Stella moved to New York in 1958 after his graduation.

Stella’s art was recognized for its innovations before he was twenty-five… Stella cast aside illusionistic space for the physicality of the flat surface and deviated from the traditional rectangular-shaped canvas. Stella married Barbara Rose, later a well-known art critic, in 1961. …Stella’s

work

was

included

in

several

important

exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museum’s The Shaped Canvas (1964–65) and Systemic Painting (1966). His art has been the subject of several retrospectives in the United States, Europe, and Japan.

Among the many honors he has received was an invitation from Harvard University to give the Charles Eliot Norton lectures in 1983–84. Calling for a rejuvenation of abstraction by achieving the depth of baroque painting, these six talks were published by Harvard University Press in 1986. The artist continues to live and work in New York” (Guggenheim 2017).

Jill 1959 Black painting series Enamel on canvas 229.6 x 200 cm Albright Knox Art Gallery

25

Sol LeWitt “Sol LeWitt was pivotal in the creation of the new radical aesthetic of the 1960’s that was a revolutionary contradiction to the ‘Abstract Expressionism’ current in the 1950’s and 60’s New York school. He had no interest in inherent narrative or descriptive imagery. LeWitt, like no other artist of his generation, had always maintained the importance of the concept or idea and, apart from his original works on paper, the work is executed by others to clear and strict instructions.

As one of the first coherent proponents of conceptual art with his writings, Sentences on Conceptual Art (1969), LeWitt’s work continues to be regarded and referred to by a younger generation of artists as one of the seminal investigations into ‘idea’ and ‘concept’ art. He continued to challenge new thinking about what art can be. “If the artist carried through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product.”

Stated LeWitt in 1971. “All intervening steps, scribbles, sketches, drawings, failed work models, studies thoughts,

process of the artist are sometimes more interesting than the final product.” (LeWitt 1967, pp. 79-83) Within this exhibition you miss the process that was integral to Sol LeWitt’s work. “…After studying a bachelors degree in Fine Art at Syracuse University until 1949, he worked as a graphic designer for I.M Pei’s architecture office in New York. In 1960 LeWitt took a job at the Museum of Modern Art in New York at the book counter where his co-workers included Robert Ryman, Dan Flavin and Robert Mangold, situating him in the midst of young artists searching for a new direction in art. LeWitt participated in seminal group exhibitions including ‘Primary Structures’, Jewish Museum, New York, NY, USA and ‘10’, Dwan Gallery, New York, NY, USA both in 1966, documenta IV in 1968 and Harald Szeeman’s exhibition ‘When Attitude Becomes Form’, Kunsthalle Bern, Switzerland and Institute of Contemporary Art, London, UK (1969).” (Lissongallery.com 2017).

conversations, are of interest. Those that show the thought

Left: Bands in Four Directions 1980 ink and pencil drawing on paper The Lewitt Collection, Chester, CT. Above: (Adaptation and) Forms Derived from a Cube Plate #13 1982 Set of twenty-four etchings with aquatint 14 x 14 inches (37.8 x 37.8 cm)

Nov. 2017

27

Vasily Kandinsky “Vasily Kandinsky was born on December 4, 1866, in

He and Marc withdrew from the NKVM in that month, and

Moscow. From 1886 through 1892 he studied law and

shortly thereafter the Blaue Reiter group’s first exhibition was

economics at the University of Moscow, where he lectured

held at the Moderne Galerie…

after graduation. In 1896 he declined a teaching position in order to study art in Munich with Anton Azbe from 1897 to 1899 and at the Kunstakademie with Franz von Stuck in 1900.

Kandinsky taught in 1901–03 at the art school of the Phalanx, a group he cofounded in Munich. …

In 1909 Kandinsky was elected president of the newly founded Neue Künstlervereinigung München (NKVM). ….

Kandinsky began teaching at the Bauhaus in Weimar in 1922… The Nazi government closed the Bauhaus in 1933 and later that year Kandinsky settled in Neuilly-sur-Seine, near Paris; he acquired French citizenship in 1939. Fifty-seven of his works were confiscated by the Nazis in the 1937 purge of “degenerate art.” Kandinsky died on December 13, 1944, in Neuilly.” (Guggenheim.org. 2017).

Left: Moscow Red Square 1916 Oil on canvas 20.3 × 19.5” (51.5 × 49.5 cm) The State Tretyakov Gallery, Moscow, Russia Above: Circles in a Circle 1923 Oil on canvas 38.9 × 37.6” (98.7 × 95.6 cm) Philadelphia Museum of Art, Philadelphia, USA

Nov. 2017

29

Katsushika Hokusai “Katsushika Hokusai is regarded as one of the most

astute acquisitions established a legacy of Japanese art in

influential and creative minds in the history of Japanese art.

Australia that has now extended for more than one hundred

His unique social observations, innovative approach to design

years.

and mastery of the brush made him famous in Edo-period Japan and globally recognised within a decade of his death.

The self-described ‘Old man mad about drawing’ was known by at least thirty names during his lifetime and was

Hokusai features 176 works from the Japan Ukiyo-e Museum,

Matsumoto,

and

the

NGV

Collection

that

encompass the artist’s remarkable seventy-year career” (Ngv. vic.gov.au 2017).

renowned for his unconventional behaviour. Despite his fame, Hokusai never attained financial success and his years of greatest artistic production were spent in poverty. He travelled and moved his resting place and studio regularly, finding inspiration for his unique style through close observations of nature and interactions with ordinary people.

In 1909 the NGV purchased five works from Hokusai’s iconic Thirty-six Views of Mt Fuji series, including his most celebrated image The great wave off Kanagawa (The great wave), 1830–34; two works from his A Tour to the Waterfalls in Various Provinces series; and four other major works. These

The great wave off Kanagawa 1830–34 from the Thirty-six Views of Mt Fuji series colour woodblock 25.7 x 37.7 cm

Nov. 2017

31

Edgar Degas “Edgar Degas is one of the most celebrated artists associated with French Impressionism. The art he made over more than fifty years of constant creativity and renewal embraces

painting,

drawing,

printmaking,

monotypes,

sculpture and photography, and has had an immense impact on modern and contemporary art. Modern life as he experienced it in nineteenth-century Paris provided Degas with a repertoire of motifs he explored with endless variation and innovation; from scenes of work and industry to ballet and the theatre, racecourses and boudoirs. This sweeping exhibition brings together more than 200 works by Degas from dozens of collections worldwide, offering a fresh and dynamic reappraisal of this legendary artist’s genius” (Ngv. vic.gov.au 2017).

Right: Beach at low tide (Plage À Marée Basse)1869 Pastel 22 x 31 cm Private collection Top: Roman landscape, (probably facing Monte Lepini, beyond the town of Velletri) 1857 graphite on pink paper 27.7 x 44.2 cm (sheet) The Museum of Fine Arts, Houston

Nov. 2017

33

Nov. 2017

35

Thomas Gainsborough Portrait of a Lady in Blue Thomas

Academy in 1768. He first exhibited there the following year,

Gainsborough was born at Sudbury, Suffolk, the fifth son of

“The

portrait

and

landscape

painter

but in 1773 quarrelled with the Academy over the hanging of

a cloth merchant. He was apprenticed at the age of thirteen

his pictures, and did not exhibit there again until 1777. In 1784

to a London silversmith, and was taught by Hubert Gravelot,

he again quarrelled with them over the same subject, and

a French book-illustrator. By 1745 he had established his own

never again exhibited at the Academy, instead organising a

studio in London. He married Margaret Burr in 1746, and by

series of annual exhibitions in his studio at Schomberg House.

1748 had taken up residence in Suffolk. He moved to Ipswich in 1752, and settled at Bath as a portraitist in 1759. He took as an apprentice his nephew, Gainsborough Dupont (1754-97) in 1772. There are no records of any other pupils or assistants. In 1774, established as a fashionable portrait painter, he moved to London, living at Schomberg House, Pall Mall. Despite his great success as a portraitist, he always maintained that he preferred painting landscapes. He wrote to a friend, William Jackson: ‘I’m sick of Portraits and wish very much to take my Viol da Gamba and walk off to some sweet Village, where I can paint Landskips and enjoy the fag End of life in quietness and ease’ (in Woodall, p.115, no.56).

Gainsborough exhibited at the Society of Artists from 1761 to 1769, and became a foundation member of the Royal

Portrait of a Lady in Blue 1779-81 Oil on canvas 76 x 64 cm The Hermitage, St. Petersburg

He received commissions from the Duke and Duchess of Cumberland in 1777, and from the King and Queen in 1781. He toured the West Country with Gainsborough Dupont in about 1782, and visited the Lake District with Samuel Kilderbee in 1783. Gainsborough died in London after a reconciliation with his great rival Sir Joshua Reynolds, who eulogised him at the Royal Academy, commenting that ‘whatever he attempted he carried to a high degree of excellence’ (R. Wark, ed., Sir Joshua Reynolds: Discourses on Art, New Haven and London 1975, p.254). He is buried in Kew Churchyard. A posthumous sale of his pictures and drawings was held at Schomberg House in 1789” (Tate 2017).

Nov. 2017

The Breakfast Club The Breakfast Club playing in unison with various TV show adaptations of the show: Community, “Pilot” Cougar Town, “The Criminal Kind” Dawson’s Creek, “Detention” Psych, “Murder?

The Vampire Diaries, “After-School Special” Bob’s Burgers, “The Runway Club” Victorious, “The Breakfast Bunch” Even the latest Power Rangers Movie This will finally emphasis the repetition, lack of ‘originality’, appropriation and redundancy of current pop culture.

The redesigned works for exhibitions are in the same vein as current popular culture in the hope of emulating the current practices by some artists, and attract the patrons to purchase them; all funds raised will go to charity.

The aim of this exhibition has been to bring attention to the prolific consumption of items containing appropriated articles in Western Culture today. This gallery hopes to do this by first tempting the patrons to purchase items the appropriated works applied to them and then introduce them to the artists and works that they just bought. The hope is that it will encourage a more discerning audience, but also build a culture of respect for authorship. This gallery by no means expects this to change the culture of millennial Brisbane but start a much needed conversation with it’s youth.

Left: The Breakfast Club 1985 Director: John Hughes USA Others: in text

37

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