Self-Expression Through Pop, Minimalism & Conceptual Art
This lecture briefly went over Pop, Minimalism and Conceptual art to explain neither subjectivity nor objectivity, but rather a whole new meaning for art altogether- self-expression.
Clement Greenberg believed that making art about the medium was important (medium specificity), but as the years went on, circumstances changed and mixed media (as well as new reasons/ideas to make art) became prominent in the art world. Mixed media fails to be modernist; because there is no medium purity, there is more of a chance that the work cannot be seen as totally functional (perhaps more medium equals more focus to form or ornamentation and therefore strays from modernist art). The rise of mixed media-Â especially in these three movements- meant there was more room for structural pieces that embraced all of the possibilities of form. There was no care nor need for functionality because that was not a goal.
I always love learning about and researching Pop Art, for it celebrates consumerism and the popular culture during its time of popularity. I understand that Warholâs Marilyn Diptych is a tired and non-perfect example of American Pop Art, but the theme of death in this work, to me, intends that celebrities (as well as his artwork, perhaps) are more than meets the eye. However, maybe Warhol did not mean to humanise Marilyn; maybe all he wanted to do was sensationalise her death (or even simply bring it to attention) the same way she lived- plastered repeatedly. I suppose re-personifying the symbol she became is something I am doing myself and Warhol never intended to have this piece come across that way.
According to the Tate, the repetitiveness of the starlet represents her constant presence in the media (much like the mass advertisement/production of the many flavours of Campbellâs Soup Cans- a common household item) and the black and white/fading effect on the right suggests her mortality.
In Lindsay Ellisâ mini video essay on Marilyn Monroe, she interprets that the black and white part of the work represents Norma Jean- her ânormalâ, âhumanâ self- and the vivid side represents Marilyn Monroe. I find Ellisâ video very informative and thought-provoking- it sheds light on how we see Monroe as a symbol rather than a person, and I suppose that is why her untimely death was so tragic; Norma Jean was a person with problems and the audience could never see it. Marilyn was, is, and will always be a symbol of many things- glamour, pop culture, and eventually, even tragedy- mass-produced like a soup can onto every film and television screen, seen by everyone and yet known by very few, if anyone.
Warholâs themes of death, the media, consumerism and the cult of celebrity personally interest me greatly. I could even use these themes as puzzle pieces of sorts for my Power to the People brief. My zine is about anti-establishment, so maybe I can incorporate those subjects somehow. In the lecture, it was said that Warhol used repetitiveness to numb the response of death, which is admittedly more compelling than using repetitiveness as simply a nod to the amount of mass-production that pop culture can ultimately cause.
Minimalism is an interesting movement that, in my opinion, should be simple in theory, but seems much too mathematically complex for me to mimic. Minimalism uses geometric shapes and even blurs the line between painting and sculpture.
Above, greens crossing greens (to Piet Mondrian who lacked green), Dan Flavin
Dan Flavinâs work using lights are quite aesthetically pleasing. I had never thought of using light and bulbs in a piece, but the way his are arranged emit a feeling of warmth, as fluorescent as they are (some lights are warmer/brighter- metaphorically as well as literally- than others due to bulb colour and wattage variants). I think his art reminds me of nightlife. Those works of his may have a totally different meaning and reason for existing than other fluorescent signs (which I also find inspiration in), but this part of the lecture, for me, was about getting excited over strange- yet new- ideas.
According to artist Donald Judd, the materials used were exactly what they were- they were not expressive. There are other ideas in Minimalism such as Robert Morrisâ opinion that there is no perception without a body, hence the uniqueness of his mirrored cubes, Untitled, above. Something about these sparked my interest- though I am not really sure why. Part of me saw these and was reminded of those modern art pieces that were seen in houses of the wealthy in magazines and movies, next to massive expensive-modern-house windows and probably missing the point of the movement altogether. When I saw these cubes, however, I was also excited to see something quite new and learn why these types of pieces exist. What could four mirrored cubes mean? What was the purpose? If they are not expressive, what are they? If one thing is for sure, they werenât just for sitting in rich peopleâs houses to look aesthetically matching in their expensive modern home. There were ideas tied to these initially confusing works- and understanding why such different-looking pieces exist seems like a fun treasure hunt of sorts.
If Pop Art is the flesh and Minimalist art is the skeleton, then Conceptual art is probably the soul; perhaps it does not exist or cannot be visible- it is a concept. Apparently, the ideas themselves are the art and the medium is taken away, but work is still hung in galleries. However, perhaps that is not what is meant by âthe medium is taken awayâ. Personally, conceptual art is difficult to wrap my brain around.
Above, Twentysix Gasoline Stations, Edward Ruscha
Ed Ruscha took non-professional photos of gas stations as a collection of facts- a representation of the everyday/the banal, and maybe that was the point, that was the art itself; the concept of simply capturing banality. In a way, this idea- as well as this movement- can make art more accessible to those less skilful (not that I believe that Ruscha is less skilful than other photographers) or to those with very specific and different ideas of art. However, I also do believe that if one is to produce conceptual art, the artist must know the concept they are going for. There is no point in making nor seeing purposeless (unless that is the purpose) conceptual art. Just because many non-professional photos of gas stations seems like no work at all (to some), does not mean that Ruschaâs work is any less legitimate, for the work is more about the idea than the piece itself... and even then, I am fond of the piece anyway, no matter how easy or difficult it may or may not have been.
With my Image Manipulation module as well as my Graphic Design module, I could use my amateur photography âskillsâ as a medium (I obviously definitely will with Digital Imaging). My Power to the People brief for Graphic Design could include photography on its own or even elements of photography- collage, for example. Collage is popular amongst punk-inspired art.
