The Resamplers by Jolien Brands

Resampling is the future of our art

THE RESAMPLERS Marcel Duchamp Raoul Haussman Ben Vautier Benjamin Patterson Joseph Beuys George Brecht George Maciunas Agnes Martin Carl Andre Dan Flavin Donald Judd Frank Stella Sol LeWitt Yves KLein Carolee Schneemann Gunter Brus Joseph Beuys Marina Abramovic Andy Warhol David Hockney Jasper Johns Jim Dine Claes Oldenburg Robert Rauschenberg Roy Lichtenstein Tom Wesselmann

Chuck Close Richard Estes Robert Cottingham Ralph Goings John Kacere Robert Bechtle Karel Appel Asger Jorn Pierre Alechinsky Andre Breton Andre Masson Max Ernst Rene Magritte Salvador Dali Yves Tanguy Joost Schmidt Josef Albers Wasilly Kandinsky Lyonel Feininger Laszlo Moholy-Nagy Oskar Schlemmer El Lissitzky Georges Hugnet John Heartfield Kurt Schwitters Man Ray

THE RESAMPLERS Resampling is the future of our art

We decided we are going to combine and edit existing art to create new things. We selected some art movements that we liked the most out of the 20st century. The movements that we have chosen are Hyperrealism, Bauhaus, Fluxus, Dadaism, Surrealism, Performance Art,

For our new project at Sint-Lucas University

Minimal Art, Cobra and Pop Art. In each of these

College of Art & Design we got the assignement

movements we selected our favorite artists and

to design the future. So we started to think about

selected the artworks that we liked the most.

this concept. What will the future look like? How

We are going to remix these artworks and make

is art going to look like within 100 years? Is there

something new with it, but with existing con-

going to be any art at all? After a lot of research

tent. We will do this by making some changes

we decided for ourselves how art would evolve.

on different aspects such as the technique of the existing work, the typography and the aspect of

Our life and our society is more and more based

absurdity and the composition of the original

on resampling. Musicians create new music with

work. These works are all published in this book

samples from other recordings and take it to the

â&#x20AC;&#x153;Resampling : Resampling is the future of our

next level. Architects are creating new build-

art.â&#x20AC;?

ings with samples of the building that was there before. Writers create new books by sampling texts from other writers or quotes. Movies are made as a parody about other existing movies. Anybody can remix everything and everything is a remix. There have been so many art movements and so many reactions on reactions in our art history. Contemporary art is exactly the same. People create new movements and other people react on this movement or start a complete different one. If we go one like this, we will have thousands of movements within years. So we decided that is has been enough. There have been enough movements and enough reactions. Why create more movements if there have been so many artists that have done such beautiful things. Instead of making totally new things, maybe we should focus on making remixes of existing artworks.

CHUCK CLOSE

RICHARD ESTES

ROBERT COTTINGHAM

Chuck Close is an American painter who achieved fame

Richard Estes is an American artist, best known for his

Robert Cottingham is one of America’s most important

as a photorealist, through his massive-scale portraits.

photorealist paintings. The paintings generally consist

photo-realist painters. Over the years he has tended to

He suffered a seizure which left him paralyzed from the

of reflective, clean, and inanimate city and geometric

work in series: buildings, signs, words, numbers, let-

neck down. However, Close continued to paint with a

landscapes. He is regarded as one of the founders of

ters, railroad imagery, and most recently, typewriters.

brush strapped onto his wrist with tape, creating large

the international photo-realist movement of the late

His work focuses on Americana. Many of his paint-

portraits in low-resolution grid squares created by an

1960s, with such painters as Ralph Goings, Chuck

ings and prints depict the architecture and commercial

assistant. Viewed from afar, these squares appear as

Close, and Duane Hanson. It is also called super-re-

signage of downtown America from the 1940’s and

a single, unified image which attempt photo-reality, al-

alism or hyper-realism and painters like Richard Estes,

1950’s that have now all but disappeared.

beit in pixelated form.

Denis Peterson, Audrey Flack, and Chuck Close often

“Art” - P. 24

“Selfportrait 1967” - P. 18-21

worked from photographic stills to create paintings

“ Tattoo” - P. 25

“ Selfportrait 2000” - P. 22

that appeared to be photographs.

“Lucas” - P. 23

“Big Telephone” - P. 33 “Central Savings” - P. 32

JOHN KACERE

RALPH GOINGS

ROBERT BECHTLE

John Kacere was an American artist. Originally an

Ralph Goings is an American painter closely associat-

Robert Bechtle is considered to be one of the ear-

Abstract-Expressionist, Kacere adopted a photore-

ed with the Photorealism movement of the late 1960s

liest Photorealists. By the mid-1960s, he had start-

alist style in 1963. Nearly all of his photorealist paint-

and early 1970s. He is best known for his highly de-

ed developing a style and subject matter that he has

ings depict the midsection of the female body. Kacere

tailed paintings of hamburger stands, pick-up trucks,

maintained over his career. Working from his own

painted his first photorealist painting in 1969 involving

and California banks, portrayed in a deliberately ob-

photographs, Bechtle creates paintings described as

the midsection of a woman dressed in lingerie. It was

jective manner. “To copy a photograph literally was

photographic. Taking inspiration from his local San

over three times life size.Kacere continued this type of

considered a bad thing to do. It went against all of my

Francisco surroundings, he painted friends and fam-

painting throughout the rest of his career, making it an

art school training... some people were upset by what

ily and the neighborhoods and street scenes, paying

icon of the photorealism movement.

I was doing and said ‘it’s not art, it can’t possibly be

special attention to automobiles. Bechtle’s brushwork

“Loretta II” - P. 26-27

art’. That gave me encouragement in a perverse way,

is barely detectable in his photo-like renditions. His

because I was delighted to be doing something that

paintings reveal his perspective on how things look to

was really upsetting people.”

him, the color, and the light of a commonplace scene.

“Airstream” - P. 30

“Pontiac ‘69” - P. 28

BAUHAUS POSTER

JOOST SCHMIDT

JOSEF ALBERS

The Bauhaus school was founded by Walter Gropius in

Joost Schmidt was a teacher or master at the Bau-

Jossef Albers was a German-born American artist and

Weimar. It was founded with the idea of creating a “to-

haus. He was a visionary typographer and graphic

educator whose work formed the basis of some of the

tal” work of art in which all arts, including architecture,

designer who is best known for designing the famous

most influential art education programs of the 20th

would eventually be brought together. The Bauhaus

poster for the 1923 Bauhaus Exhibition in Weimar,

century. Most famous of all are the hundreds of paint-

style became one of the most influential currents in

Germany. Joost Schmidt taught lettering at the school

ings and prints that make up the series Homage to the

Modernist architecture and modern design. The Bau-

from 1925–1932; head of the sculpture workshop

Square. In this rigorous series, begun in 1949, Albers

haus had a profound influence upon subsequent de-

from 1928-1930. He was also head of the Advertising,

explored chromatic interactions with nested squares.

velopments in art, architecture, graphic design, interior

Typography, Printing, and associated Photography

Painting usually on Masonite, he used a palette knife

design, industrial design, and typography.

department from 1928 to 1932. In the years of 1929-

with oil colors and often recorded colors used on the

“Bauhaus Austellung” - P. 44

1930, he taught life and figure drawing classes for up-

back of his works. Each consists of either three or four

per division work.

squares of solid planes of colour nested within one an-

“Bauhaus Expo Poster” - P. 36-37

other, in one of four different arrangements. “Gebundelt” - P. 43

WASSILI KANDINSKY

LYONEL FEININGER

LASZLO MOHOLY-NAGY

Wassily Wassilyevich Kandinsky was an influential

Lyonel Charles Feininger was a German-American

László Moholy-Nagy was a Hungarian painter and

Russian painter and art theorist. He is credited with

painter, and a leading exponent of Expressionism. He

photographer as well as professor in the Bauhaus

painting the first purely abstract works.

also worked as a caricaturist and comic strip artist.

school. He was highly influenced by constructivism

In 1896 Kandinsky settled in Munich, studying first at

When Walter Gropius founded the Bauhaus in Ger-

and a strong advocate of the integration of technology

Anton Ažbe’s private school and then at the Acade-

many in 1919, Feininger was his first faculty appoint-

and industry into the arts. The Bauhaus became known

my of Fine Arts. He returned to Moscow in 1914, after

ment, and became the master artist in charge of the

for the versatility of its artists, and Moholy-Nagy was

the outbreak of World War I. Kandinsky was unsym-

printmaking workshop. He designed the cover for the

no exception. One of his main focuses was photogra-

pathetic to the official theories on art in Moscow, and

Bauhaus 1919 manifesto: an expressionist woodcut

phy. He experimented with the photographic process

returned to Germany in 1921. There, he taught at the

‘cathedral’. He taught at the Bauhaus for several years.

of exposing light sensitive paper with objects overlain

Bauhaus school of art and architecture from 1922 until

“Bauhaus Manifesto” - P. 47

on top of it, called photogram.

the Nazis closed it in 1933. He then moved to France

“Image Dimension” - P. 41

where he lived the rest of his life, became a French cit-

“Olly and the Dolly Sisters” - P. 45

izen in 1939, and produced some of his most promi-

“Jealousy” - P. 42

nent art.

“The Dream of Girls Boarding” - P. 46

“Compositon VIII” - P. 38

OSKAR SCHLEMMER

ASGER JORN

KAREL APPEL

Oskar Schlemmer was a German painter, sculptor,

Asger Oluf Jorn was a Danish painter, sculptor, ce-

Christiaan Karel Appel was a Dutch painter, sculptor,

designer and choreographer associated with the Bau-

ramic artist, and author. He was a founding member

and poet. He was one of the founders of the avant-gar-

haus school. In 1923 he was hired as Master of Form

of the avant-garde movement COBRA (European

de movement Cobra in 1948. In 1948 Appel joined

at the Bauhaus theatre workshop, after working some

avant-garde art movement) and edited monographs of

CoBrA together with the Dutch artists Corneille, Con-

time at the workshop of sculpture. His most famous

the Bibliothèque Cobra. The following year he traveled

stant and Jan Nieuwenhuys and with the Belgian poet

work is “Triadisches Ballett,” in which the actors are

to Albisola in Italy where he became involved with an

Christian Dotremont. The new art of the CoBrA-group

transfigured from the normal to geometrical shapes.

offshoot of COBRA, the International Movement for

was not popular in the Netherlands, but it found a warm

Schlemmer became known internationally with the

an Imaginist Bauhaus.

and broad welcome in Denmark. His work from 1949

première of his ‘Triadisches Ballett’ in Stuttgart in

“The Timid Proud One” - P. 59

fresco ‘Questioning Children’ in Amsterdam City Hall

1922. Schlemmer’s work became intrigued with the

“The Disquieting Duck” - P. 55

caused controversy and was covered up for ten years.

possibilities of figures and their relationship to the

“Groen Hoofd” - P. 56

space around them.

“Wild Horse Rider” - P. 60

“Unknown” - P. 40

“Kat” - P. 58

PIERRE ALECHINSKY

EL LISSITZKY

RICHARD HÜLSENBECK

Pierre Alechinsky is a Belgian artist. He has lived

Lazar Markovich Lissitzky was a Russian artist, de-

Richard Hülsenbeck was a poet, writer and drummer

and worked in France since 1951. His work is relat-

signer, photographer, typographer, polemicist and ar-

born in Frankenau, Hessen-Nassau. Hülsenbeck was

ed to Tachisme, Abstract expressionism, and Lyrical

chitect. His work greatly influenced the Bauhaus and

a medical student on the eve of World War I. In Janu-

Abstraction. In 1949 he joined Christian Dotremont,

constructivist movements, and he experimented with

ary 1917, he moved to Berlin, taking with him the ide-

Karel Appel, Constant, Jan Nieuwenhuys and Asger

production techniques and stylistic devices that would

as and techniques which helped him found the Berlin

Jorn to form the art group Cobra. He participated both

go on to dominate 20th-century graphic design. In his

Dada group. ‘To make literature with a gun in my hand

with the Cobra exhibitions and went to Paris to study

remaining years he brought significant innovation and

had for a time been my dream,’ he wrote in 1920.

engraving at Atelier 17 under the guidance of Stanley

change to typography, exhibition design, photomon-

“En avant Dada” - P. 66

William Hayter in 1951.

tage, and book design, producing critically respected

“Arrondissement de Paris” - P. 53

works and winning international acclaim for his exhi-

“Central Park” - P. 54

bition design.

“Les Aiguilles” - P. 50

“Merz Matineen” - P. 72-73

“Flagrant” - P. 52

JOHN HEARTFIELD

KURT SCHWITTERS

MAN RAY

John Heartfield was a pioneer in the use of art as a

Kurt Hermann Eduard Karl Julius Schwitters was a

Man Ray was an American modernist artist who spent

political weapon. His photomontages were anti-Nazi

German painter who was born in Hanover, Germany.

most of his career in Paris, France. He was a significant

anti-Fascist statements. Heartfield also created book

He is most famous for his collages, called Merz Pic-

contributor to the Dada and Surrealist movements, al-

jackets for authors such as Upton Sinclair, as well as

tures. Whilst these works were usually collages incor-

though his ties to each were informal. He produced

stage sets for such noted playwrights as Bertolt Bre-

porating found objects, such as bus tickets, old wire

major works in a variety of media but considered him-

cht and Erwin Piscator. He is best known for political

and fragments of newsprint, Merz also included artists’

self a painter above all. He was best known in the art

montages which he had created during the 1930s to

periodicals, sculptures, sound poems and what would

world for his avant-garde photography, and he was

expose German Nazism. Some of his famous montag-

later be called “installations”.

a renowned fashion and portrait photographer. Ray

es were created during 1930s to 1940s.

“Merz ‘50 Composition” - P. 69

is also noted for his work with photograms, which he

“Whoever reads Bourgeois Newspapers become

“Merz II” - P. 67

called “rayographs” in reference to himself.

blind and deaf” - P. 64

“Le Merz du dimanche” - P. 70

“Violin d’Ingres” - P. 65

“Merz 19” - P. 71

RAOUL HAUSMANN

JOSEPH BEUYS

GEORGE BRECHT

Raoul Hausmann was an Austrian artist and writer.

Joseph Beuys was a German Fluxus, Happening and

George Brecht was an American conceptual artist

One of the key figures in Berlin Dada, his experimental

performance artist as well as a sculptor, installation

and avant-garde composer as well as a professional

photographic collages, sound poetry and institutional

artist, graphic artist, art theorist and pedagogue of art.

chemist who worked as a consultant for companies

critiques would have a profound influence on the Euro-

His extensive work is grounded in concepts of human-

including Pfizer, Johnson & Johnson, and Mobil Oil.

pean Avant-Garde in the aftermath of World War I. The

ism, social philosophy and anthroposophy; it culmi-

He was a key member of, and influence on, Fluxus,

photomontage became the technique most associat-

nates in his “extended definition of art” and the idea

the international group of avant-garde artists centred

ed with Berlin Dada, used extensively by Hausmann,

of social sculpture as a gesamtkunstwerk, for which he

around George Maciunas, having been involved with

Höch, Heartfield, Baader and Grosz, and would prove

claimed a creative, participatory role in shaping soci-

the group from the first performances in Wiesbaden

a crucial influence on Kurt Schwitters, El Lissitsky and

ety and politics. His career was characterized by pas-

1962 until Maciunas’ death in 1978. He described his

Russian Constructivism.

sionate, even acrimonious public debate, but he is now

own art as a way of “ensuring that the details of every-

“ABCD” - P. 68

regarded as one of the most influential artists of the

day life, the random constellations of objects that sur-

second half of the 20th century.

round us, stop going unnoticed.” [7]

“Fluxus Name List” - P. 82-83

“Bead Puzzle” - P. 87 “Fluxus Street Theatre” - 84-85

GEORGE MACIUNAS

AGNES MARTIN

CARL ANDRE

George Maciunas was a Lithuanian-born American

Agnes Bernice Martin was a Canadian-American ab-

Carl Andre is an American minimalist artist recognized

artist. He was a founding member and the central

stract painter, often referred to as a minimalist; Martin

for his ordered linear format and grid format sculp-

coordinator of Fluxus, an international community of

considered herself an abstract expressionist. Martin

tures. His sculptures range from large public artworks

artists, architects, composers, and designers. Other

worked only in black, white, and brown before moving

to more intimate tile patterns arranged on the floor

leading members brought together by this movement

to New Mexico. In 1973, she returned to art making,

of an exhibition space. His conversations with Stella

included Ay-O, Joseph Beuys, George Brecht, Dick

and produced a portfolio of 30 serigraphs, On a Clear

about space and form led him in a different direction.

Higgins, Yoko Ono, Nam June Paik, and Wolf Vostell.

Day. During her time in Taos, she introduced light pas-

While sharing a studio with Stella, Andre developed a

He is most famous for organising and performing early

tel washes to her grids, colors that shimmered in the

series of wooden “cut” sculptures. Stella is noted as

happenings and for assembling a series of highly influ-

changing light. Later, Martin reduced the scale of her

having said to Andre “Carl, that’s sculpture, too.”

ential artists’ multiples.

signature 72 x 72 square paintings to 60 x 60 inches,

“Jourafu” - P. 96

“Fluxus Mailing List” - P. 86

and shifted her work to use bands of ethereal colour.

“Burglary Fluxkit” - P. 80

“Minerals and Resins” - P. 55

“Fluxus Manifesto” - P. 76-77

“Stars” - P. 102-103

“Eat Art” - P. 78

DONALD JUDD

FRANK STELLA

SOL LEWITT

Donald Clarence Judd was an American artist asso-

Frank Stella is an American painter and printmak-

Solomon “Sol” LeWitt was an American artist linked

ciated with minimalism. In his work, Judd sought au-

er, noted for his work in the areas of minimalism and

to various movements, including Conceptual art and

tonomy and clarity for the constructed object and the

post-painterly abstraction. His new aesthetic found

Minimalism. LeWitt came to fame in the late 1960s

space created by it, ultimately achieving a rigorously

expression in a series of paintings, the Black Paint-

with his wall drawings and “structures” (a term he

democratic presentation without compositional hier-

ings (69) in which regular bands of black paint were

preferred instead of “sculptures”) but was prolific in a

archy. It created an outpouring of seemingly efferves-

separated by very thin pinstripes of unpainted canvas.

wide range of media including drawing, printmaking,

cent works that defied the term “minimalism”.

Stella’s art was recognized for its innovations before

photography, and painting. LeWitt is regarded as a

“Concrete Boxes” - P. 93

he was twenty-five. From 1960 he began to produce

founder of both Minimal and Conceptual art. LeWitt’s

“Prints” - P. 94

paintings in aluminum and copper paint which, in their

first serial sculptures were created in the 1960s using

presentation of regular lines of color separated by pin-

the modular form of the square in arrangements of var-

stripes, are similar to his black paintings.

ying visual complexity.

“Adelante” - P. 90-91

“Cube without a Cube” - P. 98-99 “Incomplete Open Cube” - P. 95

YVES KLEIN

CAROLEE SCHNEEMANN

GUNTER BRUS

Yves Klein was a French artist considered an important

Carolee Schneemann is an American visual artist,

Günter Brus is a controversial Austrian painter, per-

figure in post-war European art. Klein was a pioneer in

known for her discourses on the body, sexuality and

formance artist, graphic artist and writer. His aggres-

the development of Performance art, and is seen as

gender. Her work is primarily characterized by re-

sively presented actionism intentionally disregarded

an inspiration to and as a forerunner of Minimal art,

search into visual traditions, taboos, and the body of

conventions and taboos with the intent of shocking

as well as Pop art. Although Klein had painted mon-

the individual in relationship to social bodies. Though

the viewer. Brus urinated into a glass then proceed-

ochromes as early as 1949, and held the first private

she is noted for being a feminist figure, her works ex-

ed to cover his body in his own excrement, and ended

exhibition of this work in 1950, his first public showing

plore issues in art and rely heavily on her broad knowl-

the piece by drinking his own urine. During the perfor-

was the publication of the Artist’s book Yves: Peintures

edge of art history. Though works such as Eye Body

mance Brus also sang the Austrian National Anthem

in November 1954.

were meant to explore the processes of painting and

while masturbating. Brus ended the piece by vomiting

“Large Blue Anthrapophagy” - P. 92

assemblage, rather than to address feminist topics,

and was subsequently arrested.

they still possess a strong female presence.

“ Self Painting” - P. 111

“Eye Body” - P. 109

JOSEPH BEUYS

MARINA ABRAMOVIC

YVES KLEIN

In the performance “I like America and America likes

Marina Abramovic is a New York-based performance

Despite the IKB paintings being uniformly coloured,

me” Joseph Beuys shared a room with a wild coyote,

artist who began her career in the early 1970s. Active

Klein experimented with various methods of applying

for eight hours over three days. At times he stood,

for over three decades, she has recently begun to de-

the paint; firstly different rollers and then later sponges,

wrapped in a thick, grey blanket of felt, leaning on a

scribe herself as the “grandmother of performance

created a series of varied surfaces. This experimental-

large shepherd’s staff. At times he lay on the straw, at

art.” Abramovic’s work explores the relationship be-

ism would lead to a number of works Klein made us-

times he watched the coyote as the coyote watched

tween performer and audience, the limits of the body,

ing naked female models covered in blue paint and

him and cautiously circled the man, or shredded the

and the possibilities of the mind.

dragged across or laid upon canvases to make the im-

blanket to pieces, and at times he engaged in symbolic

“Cleaning the Mirroné - P. 115

age, using the models as “living brushes”. This type of

gestures, such as striking a large triangle or tossing his

“Lips of Thomas” - P. 114

work he called Anthropometry.

leather gloves to the animal.

“Relation in Time” - P. 112

“Anthropometries” - P. 116-117

“I like America and America likes me” - P. 110

“Relation in Space” - P. 108 “Imponderabillia” - P. 113 “Back to Simplicity” - P. 106-107

ANDY WARHOL

DAVID HOCKNEY

JASPER JOHNS

Andy Warhol was an American artist who was a lead-

David Hockney is an English painter, draughtsman,

Jasper Johns is an American contemporary artist who

ing figure in the visual art movement known as Pop

printmaker, stage designer and photographer. As an

works primarily in painting and printmaking. His work

Art. His works explore the relationship between ar-

important contributor to the Pop art movement of

is often described as a Neo-Dadaist, as opposed to

tistic expression, celebrity culture and advertisement

the 1960s, he is considered one of the most influen-

pop art, even though his subject matter often includes

that flourished by the 1960s. Warhol’s art encom-

tial British artists of the 20th century. Hockney made

images and objects from popular culture. Still, many

passed many forms of media, including hand drawing,

prints, portraits of friends, and stage designs for the

compilations on pop art include Jasper Johns as a

painting, printmaking, photography, silk screening,

Royal Court Theatre, Glyndebourne, La Scala and the

pop artist because of his artistic use of classical ico-

sculpture, film, and music. Andy Warhol and Popism:

Metropolitan Opera in New York City.

nography. Early works were composed using simple

The Warhol Sixties. He is also notable as a gay man

“A Bigger Splash” - P. 122

schema such as flags, maps, targets, letters and num-

who lived openly as such before the gay liberation

bers. Johns’ treatment of the surface is often lush and

movement.

painterly; he is famous for incorporating such media as

“Campbells Soup” - P. 124

encaustic and plaster relief in his paintings.

“Marilyn Monroe” - P. 130

“From 0 through 9” - P. 128

ROBERT RAUSCHENBERG

ROY LICHTENSTEIN

TOM WESSELMANN

Robert Rauschenberg was an American painter and

Roy Lichtenstein was an American pop artist. He be-

Tom Wesselmann was an American artist associated

graphic artist whose early works anticipated the pop

came a leading figure in the new art movement. His

with the Pop art movement who worked in painting,

art movement. Rauschenberg is well known for his

work defined the basic premise of pop art better than

collage and sculpture. Wesselmann never liked his

“Combines” of the 1950s, in which non-traditional ma-

any other through parody. Favoring the old-fashioned

inclusion in American Pop Art, pointing out how he

terials and objects were employed in innovative com-

comic strip as subject matter, Lichtenstein produced

made an aesthetic use of everyday objects and not a

binations. Rauschenberg picked up trash and found

hard-edged, precise compositions that documented

criticism of them as consumer objects.

objects that interested him on the streets of New York

while it parodied often in a tongue-in-cheek humor-

“Smoker 1 Mouth 12” - P. 131

City and brought these back to his studio where they

ous manner. His work was heavily influenced by both

could become integrated into his work.

popular advertising and the comic book style. He de-

“Blue Eagle” - P. 125

scribed pop art as, “not ‘American’ painting but actual-

“Pledge” - P. 129

ly industrial painting”. “Crying Girl” - P. 120-121

JIM DINE

CLAES OLDENBURG

ANDRE BRETON

Jim Dine is an American pop artist. He is sometimes

Claes Oldenburg is an American sculptor, best known

André Breton was a French writer and poet. He is

considered to be a part of the Neo-Dada movement.

for his public art installations typically featuring very

known best as the founder of Surrealism. His writings

In the early 1960s Dine produced pop art with items

large replicas of everyday objects. Another theme in

include the first Surrealist Manifesto (Manifeste du

from everyday life. These provided commercial as well

his work is soft sculpture versions of everyday objects.

surréalisme) of 1924, in which he defined surrealism

as critical success, but left Dine unsatisfied. Return-

Oldenburg started to make figures, signs and objects

as “pure psychic automatism”.

ing to the United States in 1971 he focused on several

out of papier-mâché, sacking and other rough materi-

“African Mask” - P. 144

series of drawings. In the 1980s sculpture resumed a

als, followed in 1961 by objects in plaster and enamel

prominent place in his art. In the time since then there

based on items of food and cheap clothing.

has been an apparent shift in the subject of his art from

“Alphabet Good Humor” - P. 123

man-made objects to nature. “Untitled” - P. 126-127

MAX ERNST

RENE MAGRITTE

SALVADOR DALI

Max Ernst was a German painter, sculptor, graphic art-

René François Ghislain Magritte was a Belgian sur-

Salvador Dalí was a prominent Spanish surrealist

ist, and poet. A prolific artist, Ernst was a primary pio-

realist artist. He became well known for a number of

painter born in Figueres, Spain. Dalí was a skilled

neer of the Dada movement and Surrealism. His alter

witty and thought-provoking images that fell under the

draftsman, best known for the striking and bizarre

ego in paintings, which he called Loplop, was a bird.

umbrella of surrealism. His work challenges observers’

images in his surrealist work. His painterly skills are

He suggested that this alter-ego was an extension of

preconditioned perceptions of reality.Ma gritte’s work

often attributed to the influence of Renaissance mas-

himself stemming from an early confusion of birds and

frequently displays a collection of ordinary objects in

ters. Dalí’s expansive artistic repertoire included film,

humans. Loplop often appeared in collages of other

an unusual context, giving new meanings to famil-

sculpture, and photography, in collaboration with a

artists’ work, such as Loplop presents André Breton.

iar things. The use of objects as other than what they

range of artists in a variety of media. Dalí was highly

“Birth of a Galaxy” - P. 136

seem is typified in his painting.

imaginative, and also enjoyed indulging in unusual and

“Ceci n’est pas une Pipe” - P. 145

grandiose behavior.

“The Thomas Crown Affair” - P. 142

“The Elephants” - P. 134-135

“The Lovers” - P. 146-147

“Leda Atomica” - P. 143 “Shirley Temple” - P. 137 “Lugubrious” - P. 140

RESAMPLING

HYPERRE Chuck Close John Kacere Ralph Goings Richard Estes Robert Cottingham Robert Bechtle

EALISM

RESAMPLING

BAUHAU Joost Schmidt Josef Albers LĂ szlo Moholy-Nagy Lyonel Feininger Oskar Schlemmer Wasilly Kandinsky

RESAMPLING

COBRA Asger Jorn Karel Appel Pierre Alechinsky

RESAMPLING

DADAISM El Lissitzky John Heartfield Kurt Schwitters Man Ray Marcel Duchamp Raoul Hausmann Richard Huelsenbeck

RESAMPLING

FLUXUS George Brecht George Maciunas Joseph Beuys

RESAMPLING

MINIMAL Agnes Martin Carl Andre Donald Judd Frank Stella Sol LeWitt Yves KLein

L ART

101

102

103

RESAMPLING

PERFORM Carolee Schneemann Gunter Brus Joseph Beuys Marina Abramovic Yves Klein

MANCE

106

107

108

109

110

111

112

113

114

115

116

117

RESAMPLING

POP ART Andy Warhol Claes Oldenburg David Hockney Jasper Johns Jim Dine Robert Rauschenberg Roy Lichtenstein Tom Wesselmann

118

T 119

120

121

122

123

124

125

126

127

128

129

130

131

RESAMPLING

SURREAL Andre Breton Max Ernst RenĂŠ Magritte Salvador Dali

LISM

134

135

136

138

139

140

141

142

143

144

145

146

147

Colofon Uitgevers : Drukker : Papiersoort : Lettertype : Oplage : Jolien Brands Copy Copy Fabriano Vonnes 1, 1ste oplage Junior van de Poel Blancefloerlaan 120gram Book,MediumCompressed 2012 Antwerpen