An Interactive Teaching Module by: Francella Smith

An Interactive Teaching Module by: Francella Smith
ound bject rt Found object art is a term that refers to art created either partially or completely from objects that are not normally considered art. They are often objects that serve some utilitarian function in everyday life, but can also be naturally occurring objects such as stones, shells, bones, or vegetation. (Found Object, 2007) Also referred to as found art, and in French: objet trouve’, the object can be used either alone or as part of a grouping, and can be used exactly as it was found or modified in appearance. Found objects have appeared in art throughout the ages, but it is only in the last century that they have been recognized as a distinct and legitimate, albeit diverse, medium. go An Interactive Teaching Module by: Francella Smith 1

Main Menu Previous Slide Artists A History Materials Suggestions 2

Found Object Artists menu Marcel Duchamps Georges Braque Pablo Picasso
Previous Slide Marcel Duchamps Georges Braque Pablo Picasso Juan Gris Jean (Hans) Arp Kurt Schwitters Simon Rodia Max Ernst Joseph Cornell Jean Dubuffet Louise Nevelson Robert Rauschenberg Jasper Johns John Chamberlain Andy Warhol Roy Lichtenstein Damien Hirst Pepon Osorio John Dahlsen menu 3

Marcel Duchamps menu His art 4
Artists b. 1887, Blainville, France; d. 1968, Neilly-sur-Seine, France Henri-Robert-Marcel Duchamp was born July 28, 1887, near Blainville, France. In 1904, he joined his artist brothers, Jacques Villon and Raymond Duchamp-Villon, in Paris, where he studied painting at the Académie Julian until Duchamp’s early works were Post-Impressionist in style. He exhibited for the first time in 1909 at the Salon des Indépendants and the Salon d’Automne in Paris. His paintings of 1911 were directly related to Cubism [more] but emphasized successive images of a single body in motion. In 1912, he painted the definitive version of Nude Descending a Staircase; this was shown at the Salon de la Section d’Or of that same year and subsequently created great controversy at the Armory Show in New York in 1913. Duchamp’s radical and iconoclastic ideas predated the founding of the Dada [more] movement in Zurich in By 1913, he had abandoned traditional painting and drawing for various experimental forms, including mechanical drawings, studies, and notations that would be incorporated in a major work, The Bride Stripped Bare by Her Bachelors, Even (1915–23; also known as The Large Glass). In 1914, Duchamp introduced his readymades—common objects, sometimes altered, presented as works of art—which had a revolutionary impact upon many painters and sculptors. In 1915, Duchamp traveled to New York, where his circle included Katherine Dreier and Man Ray, with whom he founded the Société Anonyme in 1920, as well as Louise and Walter Arensberg, Francis Picabia, and other avant-garde figures. After playing chess avidly for nine months in Buenos Aires, Duchamp returned to France in the summer of 1919 and associated with the Dada group in Paris. In New York in 1920, he made his first motor-driven constructions and invented Rrose Sélavy, his feminine alter ego. Duchamp moved back to Paris in 1923 and seemed to have abandoned art for chess but in fact continued his artistic experiments. From the mid-1930s, he collaborated with the Surrealists and participated in their exhibitions. Duchamp settled permanently in New York in 1942 and became a United States citizen in During the 1940s, he associated and exhibited with the Surrealist émigrés in New York, and in 1946 began Etant donnés: 1. la chute d’eau 2. le gaz d’éclairage, a major assemblage on which he worked secretly for the next 20 years. He died October 2, 1968, in Neuilly-sur-Seine, France. His art menu 4

Duchamp’s Readymades menu Back to Bio Bicycle Wheel Fountain
Artists Back to Bio Bicycle Wheel Fountain menu Bottle Rack 5

Georges Braque menu His art 6
Artists . 1882, Argenteuil-sur-Seine, France; d. 1963, Paris Georges Braque was born on May 13, 1882, in Argenteuil-sur-Seine, France. He grew up in Le Havre and studied evenings at the École des Beaux-Arts there from about 1897 to He left for Paris to study under a master decorator to receive his craftsman certificate in From 1902 to 1904 he painted at the Académie Humbert in Paris, where he met Marie Laurencin and Francis Picabia. By 1906 Braque’s work was no longer Impressionist but Fauve in style; after spending that summer in Antwerp with Othon Friesz, he showed his Fauve work the following year in the Salon des Indépendants in Paris. His first solo show was at Daniel-Henri Kahnweiler’s gallery in From 1909 Pablo Picasso and Braque worked together in developing Cubism; by 1911 their styles were extremely similar. In 1912 they started to incorporate collage elements into their paintings and to experiment with the papier collé (pasted paper) technique. Their artistic collaboration lasted until Braque served in the French army during World War I and was wounded; upon his recovery in 1917 he began a close friendship with Juan Gris. After World War I Braque’s work became freer and less schematic. His fame grew in 1922 as a result of an exhibition at the Salon d’Automne in Paris. In the mid-1920s Braque designed the decor for two Sergei Diaghilev ballets. By the end of the decade, he had returned to a more realistic interpretation of nature, although certain aspects of Cubism [more] always remained present in his work. In 1931 Braque made his first engraved plasters and began to portray mythological subjects. His first important retrospective took place in 1933 at the Kunsthalle Basel. He won first prize at the Carnegie International, Pittsburgh, in 1937. During World War II Braque remained in Paris. His paintings at that time, primarily still lifes and interiors, became more somber. In addition to paintings, Braque also made lithographs, engravings, and sculptures. From the late 1940s he treated various recurring themes such as birds, ateliers, landscapes, and seascapes. In 1954 he designed stained-glass windows for the church of Varengeville. During the last few years of his life, Braque’s ill health prevented him from undertaking further large-scale commissions, but he continued to paint, make lithographs, and design jewelry. He died on August 31, 1963, in Paris. His art menu 6

Braque’s Collage menu Back to Bio Man with Guitar Portuges
Artists Man with Guitar Portuges Violin and Newspaper menu Back to Bio 7

Pablo Picasso menu His art 8
Artists b. 1881, Málaga, Spain; d. 1973, Mougins, France Pablo Picasso was born on October 25, 1881, in Málaga, Spain. The son of an academic painter, José Ruiz Blasco, he began to draw at an early age. In 1895 the family moved to Barcelona, and Picasso studied there at La Lonja, the academy of fine arts. His visit to Horta de Ebro from 1898 to 1899 and his association with the group at the café Els Quatre Gats in about 1899 were crucial to his early artistic development. Picasso’s first exhibition took place in Barcelona in 1900, and that fall he went to Paris for the first of several stays during the early years of the century. Picasso settled in Paris in April 1904, and his circle of friends soon included Guillaume Apollinaire, Max Jacob, Gertrude and Leo Stein, as well as two dealers, Ambroise Vollard and Berthe Weill. His style developed from the Blue Period (1901–04) to the Rose Period (1905) to the pivotal work Les Demoiselles d’Avignon (1907), and the subsequent evolution of Cubism [more] from an Analytic phase (ca. 1908–11) to its Synthetic phase (beginning in 1912–13). Picasso’s collaboration on ballet and theatrical productions began in Soon thereafter, his work was characterized by neoclassicism and a renewed interest in drawing and figural representation. In the 1920s the artist and his wife, Olga (whom he had married in 1918), continued to live in Paris, to travel frequently, and to spend their summers at the beach. From 1925 to the 1930s Picasso was involved to a certain degree with the Surrealists, and from the fall of 1931 he was especially interested in making sculpture. In 1932, with large exhibitions at the Galeries Georges Petit, Paris, and the Kunsthaus Zürich, and the publication of the first volume of Christian Zervos’s catalogue raisonné, Picasso’s fame increased markedly. By 1936 the Spanish Civil War had profoundly affected Picasso, the expression of which culminated in his painting Guernica (1937, Museo Nacional Centro de Arte Reina Sofía, Madrid). Picasso’s association with the Communist Party began in From the late 1940s he lived in the south of France. Among the enormous number of exhibitions that were held during the artist’s lifetime, those at the Museum of Modern Art, New York, in 1939 and the Musée des Arts Décoratifs, Paris, in 1955 were most significant. In 1961 the artist married Jacqueline Roque, and they moved to Mougins. There Picasso continued his prolific work in painting, drawing, prints, ceramics, and sculpture until his death on April 8, 1973. His art menu 8

Picasso’s Collage menu Back to Bio Bottle of Vieux Marc
Artists Back to Bio Bottle of Vieux Marc Pipe, Bottle and Glass Three Musicians menu Still Life with Chair Guitar Ceret 9

Juan Gris Artists b. 1887, Madrid; d. 1927, Boulogne-sur-Seine, France Juan Gris was born José Victoriano Carmelo Carlos González-Pérez in Madrid on March 23, He studied mechanical drawing at the Escuela de Artes y Manufacturas in Madrid from 1902 to 1904, during which time he contributed drawings to local periodicals. From 1904 to 1905 he studied painting with the academic artist José Maria Carbonero. In 1906 he moved to Paris, where he lived for most of the remainder of his life. His friends in Paris included Georges Braque, Fernand Léger, and Pablo Picasso and the writers Guillaume Apollinaire, Max Jacob, and Maurice Raynal. Although he continued to submit humorous illustrations to journals such as L'Assiette au beurre, Le Charivari, and Le Cri de Paris, Gris began to paint seriously in By 1912 he had developed a personal Cubist style. He exhibited for the first time in 1912 at the Salon des Indépendants in Paris, Galeries Dalmau in Barcelona, Der Sturm gallery in Berlin, the Salon de la Société Normande de Peinture Moderne in Rouen, and the Salon de la Section d'Or in Paris. That same year D.H. Kahnweiler signed Gris to a contract that gave Kahnweiler exclusive rights to the artist's work. Gris became a good friend of Henri Matisse in 1914 and over the next several years formed close relationships with Jacques Lipchitz and Jean Metzinger. After Kahnweiler fled Paris at the outbreak of World War I, Gris signed a contract with Léonce Rosenberg in His first major solo show was held at Rosenberg's Galerie l'Effort Moderne in Paris in The following year Kahnweiler returned and once again became Gris's dealer. In 1922 the painter first designed ballet sets and costumes for Sergei Diaghilev. Gris articulated most of his aesthetic theories during 1924 and He delivered his definitive lecture, "Des possibilités de la peinture," at the Sorbonne in Major Gris exhibitions took place at the Galerie Simon in Paris and the Galerie Flechtheim in Berlin in 1923 and at the Galerie Flechtheim in Düsseldorf in As his health declined, Gris made frequent visits to the south of France. He died in Boulogne-sur-Seine on May 11, 1927. His art menu 10

Gris’ art menu Back to Bio Le Journal The Sun Blind Glass and Bottle
Artists Back to Bio Le Journal The Sun Blind Glass and Bottle menu 11

Jean (Hans) Arp menu His art 12
Artists 1886, Strasbourg, Alsace-Lorraine; d. 1966, Basel Jean Arp was born Hans Arp on September 16, 1886, in Strasbourg. In 1904, after leaving the Ecole des Arts et Métiers, Strasbourg, he visited Paris and published his poetry for the first time. From 1905 to 1907, Arp studied at the Kunstschule, Weimar, and in 1908 went to Paris, where he attended the Académie Julian. In 1909, he moved to Switzerland and in 1911 was a founder of the Moderner Bund group there. The following year, he met Robert and Sonia Delaunay in Paris and Vasily Kandinsky in Munich. Arp participated in the Erste deutsche Herbstsalon in 1913 at the gallery Der Sturm, Berlin. After returning to Paris in 1914, he became acquainted with Guillaume Apollinaire, Max Jacob, Amadeo Modigliani, and Pablo Picasso. In 1915, he moved to Zurich, where he executed collages and tapestries, often in collaboration with his future wife Sophie Taeuber (who became known as Sophie Taeuber-Arp after they married in 1922). In 1916, Hugo Ball opened the Cabaret Voltaire, which was to become the center of Dada [more] activities in Zurich for a group that included Arp, Marcel Janco, Tristan Tzara, and others. Arp continued his involvement with Dada after moving to Cologne in In 1922, he participated in the Kongress der Konstruktivisten in Weimar and the Exposition Internationale Dada at Galerie Montaigne in Paris. Soon thereafter, he began contributing to magazines such as Merz, Mécano, De Stijl [more], and later to La Révolution surréaliste. Arp’s work appeared in the first exhibition of the Surrealist group at the Galerie Pierre, Paris, in In 1926, he settled in Meudon, France. In 1931, Arp was associated with the Paris-based group Abstraction-Création and the periodical Transition. Throughout the 1930s and until the end of his life, he continued to write and publish poetry and essays. In 1942, he fled Meudon for Zurich; he was to make Meudon his primary residence again in The artist visited New York in 1949 on the occasion of his solo show at Curt Valentin’s Buchholz Gallery. In 1950, he was invited to execute a relief for the Harvard Graduate Center in Cambridge, Massachusetts. In 1954, Arp received the Grand Prize for Sculpture at the Venice Biennale. A retrospective of his work was held at the Museum of Modern Art, New York, in 1958, followed by another at the Musée National d’Art Moderne, Paris, in Arp died June 7, 1966, in Basel. His art menu 12

Arp’s art Artists Back to Bio Untitled Violins menu 13

Kurt Schwitters menu His art 14
Artists b. 1887, Hannover, Prussia; d. 1948, Kendal, England Kurt Schwitters was born Herman Edward Karl Julius Schwitters on June 20, 1887, in Hannover. He attended the Kunstgewerbeschule in Hannover from 1908 to 1909 and from 1909 to 1914 studied at the Kunstakademie Dresden. After serving as a draftsman in the military in 1917, Schwitters experimented with Cubist and Expressionist styles. In 1918, he made his first collages and in 1919 invented the term “Merz,” which he was to apply to all his creative activities: poetry as well as collage and constructions. This year also marked the beginning of his friendships with Jean Arp and Raoul Hausmann. Schwitters’s earliest Merzbilder date from 1919, the year of his first exhibition at Der Sturm gallery, Berlin, and the first publication of his writings in the periodical Der Sturm. Schwitters showed at the Société Anonyme in New York in 1920. With Arp, he attended the Kongress der Konstructivisten in Weimar in There Schwitters met Theo van Doesburg, whose De Stijl [more] principles influenced his work. Schwitters’s Dada [more] activities included his Merz-Matineen and Merz-Abende at which he presented his poetry. From 1923 to 1932, he published the magazine Merz. About 1923, the artist started to make his first Merzbau, a fantastic structure he built over a number of years; the Merzbau grew to occupy much of his Hannover studio. During this period, he also worked in typography. Schwitters was included in the exhibition Abstrakte und surrealistische Malerei und Plastik at the Kunsthaus Zürich in The artist contributed to the Parisian review Cercle et Carré in In 1932, he joined the Paris-based Abstraction-Création group and wrote for their organ of the same name. He participated in the Cubism and Abstract Art and Fantastic Art, Dada, Surrealism exhibitions of 1936 at the Museum of Modern Art, New York. The Nazi regime banned Schwitters’s work as “degenerate art” in This year, the artist fled to Lysaker, Norway, where he constructed a second Merzbau. After the German invasion of Norway in 1940, Schwitters escaped to Great Britain, where he was interned for over a year. He settled in London following his release, but moved to Little Langdale in the Lake District in There, helped by a stipend from the Museum of Modern Art, he began work on a third Merzbau in The project was left unfinished when Schwitters died on January 8, 1948, in Kendal, England. His art menu 14

Schwitters’ MerzArt menu Back to Bio Merzbild Rossfett Merzbau Start
Artists Merzbild Rossfett Back to Bio Merzbau Start Merzbau Den Revolving menu

Simon Rodia menu His art
Artists Sabato "Simon" (or "Sam" to his friends) Rodia (1879 – 16 July 1965) was an Italian immigrant to the United States who spent much of his adulthood living in Los Angeles, California. Rodia lived in the Watts district of Los Angeles where he constructed his most famous creation, the Watts Towers. Rodia was born in 1879 near the town of Naples, Italy before emigrating to the United States at the age of 15 and living with his brother in Pennsylvania. However, his brother died soon afterwards in a mining accident and Rodia then moved to the west coast. He first lived in Seattle, then Oakland, and then Long Beach before settling in Watts in the early 1920s, where he began construction of the towers.[1] While living in Seattle, he married and had three children with his wife. Rodia began working on the towers in 1921 and finished them in After finishing the towers, Rodia moved to Martinez, California where he lived until his death in 1965[1]; it is generally believed that he never saw his towers again after leaving Watts. He moved due to disputes with his neighbors over the vandalization of the towers. Claims that Rodia's surname was "Rodella" or "Rodilla," or that his given name was "Sabatino," rather than Sabato, are generally given little credibility, and are likely the result of misspellings. There is some question of whether or not he was generally called "Simon" during his lifetime. A photograph of Simon Rodia is included on the cover of the Beatles' album Sgt. Pepper's Lonely Hearts Club Band, released in Simon Rodia High School in Watts is named for him. His art menu

Rodia’s Watts Towers menu Back to Bio Tower Detail Tower Detail
Artists Tower Detail Tower Detail The Three Towers Wall detail menu Back to Bio 17

Max Ernst menu His art b. 1891, Bruhl, Germany; d. 1976, Paris
Artists b. 1891, Bruhl, Germany; d. 1976, Paris Max Ernst was born on April 2, 1891, in Bruhl, Germany. He enrolled in the University at Bonn in 1909 to study philosophy, but soon abandoned this pursuit to concentrate on art. At this time he was interested in psychology and the art of the mentally ill. In 1911 Ernst became a friend of August Macke and joined the Rheinische Expressionisten group in Bonn. Ernst showed for the first time in 1912 at the Galerie Feldman in Cologne. At the Sonderbund exhibition of that year in Cologne he saw the work of Paul Cézanne, Edvard Munch, Pablo Picasso, and Vincent van Gogh. In 1913 he met Guillaume Apollinaire and Robert Delaunay and traveled to Paris. Ernst participated that same year in the Erste deutsche Herbstsalon. In 1914 he met Jean Arp, who was to become a lifelong friend. Despite military service throughout World War I, Ernst was able to continue painting and to exhibit in Berlin at Der Sturm in He returned to Cologne in The next year he produced his first collages and founded the short-lived Cologne Dada [more] movement with Johannes Theodor Baargeld; they were joined by Arp and others. In 1921 Ernst exhibited for the first time in Paris, at the Galerie au Sans Pareil. He was involved in Surrealist activities in the early 1920s with Paul Eluard and André Breton. In 1925 Ernst executed his first frottages; a series of frottages was published in his book Histoire naturelle in He collaborated with Joan Miró on designs for Sergei Diaghilev that same year. The first of his collage-novels, La Femme 100 têtes, was published in The following year the artist collaborated with Salvador Dalí and Luis Buñuel on the film Lï¿½Age dï¿½or. His first American show was held at the Julien Levy Gallery, New York, in In 1936 Ernst was represented in Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York. In 1939 he was interned in France as an enemy alien. Two years later Ernst fled to the United States with Peggy Guggenheim, whom he married early in After their divorce he married Dorothea Tanning and in 1953 resettled in France. Ernst received the Grand Prize for painting at the Venice Biennale in 1954, and in 1975 the Solomon R. Guggenheim Museum gave him a major retrospective, which traveled in modified form to the Musée National d'Art Moderne, Paris, in He died on April 1, 1976, in Paris. His art menu

Ernst’s Frottage Artists Landscape The Eye of Silence menu Back to Bio

Joseph Cornell menu His art
Artists b. 1903, Nyack, N.Y.; d. 1972, Flushing, N.Y. Joseph Cornell was born December 24, 1903, in Nyack, New York. From 1917 to 1921, he attended Phillips Academy, Andover, Massachusetts. He was an avid collector of memorabilia and, while working as a woolen-goods salesman in New York until 1931, developed his interests in ballet, literature, and opera. He lived with his mother and brother, Robert, at their home in the Flushing section of Queens. In the early 1930s, Cornell met Surrealist writers and artists at the Julien Levy Gallery, New York, and saw Max Ernst’s collage-novel La Femme 100 têtes. Cornell’s early constructions of found objects were first shown in the group exhibition Surréalisme at Levy’s gallery in From 1934 to 1940, Cornell supported himself by working as a textile designer at the Traphagen studio in New York. During these years, he became familiar with Marcel Duchamp’s readymades and Kurt Schwitters’s box constructions. Cornell was included in the 1936 exhibition Fantastic Art, Dada [more], Surrealism at the Museum of Modern Art, New York. Always interested in film and cinematic techniques, he made a number of movies, including the collage film Rose Hobart (ca. 1936) and wrote two film scenarios. One of these, Monsieur Phot (1933), was published in 1936 in Levy’s book Surrealism. Cornell’s first two solo exhibitions took place at the Julien Levy Gallery in 1932 and 1939, and they included an array of objects, a number of them in shadow boxes. During the 1940s and 1950s, he made Aviary, Hotel, Observatory, and Medici boxes, among other series, as well as boxes devoted to stage and screen personalities. In the early 1960s, Cornell stopped making new boxes and began to reconstruct old ones and to work intensively in collage. Cornell retrospectives were held in 1967 at the Pasadena Art Museum and the Solomon R. Guggenheim Museum, New York. In 1970, the Metropolitan Museum of Art in New York mounted an exhibition of his collages. Cornell died December 29, 1972, at his home in Flushing. His art menu

Cornell’s Assemblages
Artists Back to Bio Defense Afficher Soap Bubble Set Bebe’ Marie A Parrot for Juan Gris menu Medici Boy Hotel Eden Tilly Losch

Jean Dubuffet menu His art b. 1901, Le Havre, France; d. 1985, Paris
Artists b. 1901, Le Havre, France; d. 1985, Paris Jean Dubuffet was born July 31, 1901, in Le Havre, France. He attended art classes in his youth and in 1918 moved to Paris to study at the Académie Julian, which he left after six months. During this time, Dubuffet met Raoul Dufy, Max Jacob, Fernand Léger, and Suzanne Valadon and became fascinated with Hans Prinzhorn’s book on psychopathic art. He traveled to Italy in 1923 and South America in Then, Dubuffet gave up painting for about ten years, working as an industrial draftsman and later in the family wine business. He committed himself to becoming an artist in 1942. Dubuffet’s first solo exhibition was held at the Galerie René Drouin, Paris, in During the 1940s, the artist associated with André Breton, Georges Limbour, Jean Paulhan, and Charles Ratton. His style and subject matter in this period owed a debt to Paul Klee. From 1945, he collected Art Brut [more], spontaneous, direct works by untutored individuals, such as mental patients. The Pierre Matisse Gallery gave him his first solo show in New York in 1947. From 1951 to 1952, Dubuffet lived in New York. He then returned to Paris, where a retrospective of his work took place at the Cercle Volney in His first museum retrospective occurred in 1957 at the Schloss Morsbroich, Leverkusen. Dubuffet exhibitions were subsequently held at the Musée des Arts Décoratifs, Paris, in 1960–61; the Museum of Modern Art, New York, and the Art Institute of Chicago in 1962; Palazzo Grassi, Venice, in 1964; the Tate Gallery, London, and Stedelijk Museum, Amsterdam, in 1966; and the Solomon R. Guggenheim Museum, New York, in 1966–67. A collection of Dubuffet’s writings, Prospectus et tous écrits suivants, was published in 1967, the same year he started his architectural structures. Soon thereafter, he began numerous commissions for monumental outdoor sculptures. In 1971, he produced his first theater props, the “practicables.” A Dubuffet retrospective was presented at the Akademie der Kunst, Berlin, the Museum Moderner Kunst, Vienna, and the Joseph-Haubrichkunsthalle, Cologne, in 1980–81. In 1981, the Solomon R. Guggenheim Museum observed the artist’s 80th birthday with an exhibition. Dubuffet died May 12, 1985, in Paris. His art menu

Dubuffet’s art menu Back to Bio Butterfly Wing Figure Soul of Morvan
Artists Butterfly Wing Figure Soul of Morvan Limbour as a Crustacean menu Back to Bio

Louise Nevelson menu Her art . 1899, Kiev; d. 1988, New York City
Artists . 1899, Kiev; d. 1988, New York City Louise Nevelson was born Louise Berliawsky on September 23, 1899, in Kiev, Russia. By 1905, her family had emigrated to the United States and settled in Rockland, Maine. In 1920, she married Charles Nevelson and moved to New York. At this time, she studied visual and performing arts, including dramatics, with Frederick Kiesler. Nevelson enrolled at the Art Students League in 1928 and also studied with Hilla Rebay. During this period, she was introduced to the work of Marcel Duchamp and Pablo Picasso. In 1931, while traveling in Europe, she briefly attended Hans Hofmann’s school in Munich. Nevelson returned to New York in 1932 and assisted Diego Rivera on murals he was executing under the WPA Federal Art Project. Shortly thereafter, in the early 1930s, she turned to sculpture. Between 1933 and 1936, Nevelson’s work was included in numerous group exhibitions in New York, and in 1937 she joined the WPA as a teacher for the Educational Alliance School of Art. Nevelson’s first solo show took place in 1941 at the Nierendorf Gallery in New York. In 1943, she began her Farm assemblages, in which pieces of wood and found objects were incorporated. She studied etching with Stanley William Hayter at his Atelier 17 in New York in 1947, and in 1949–50 worked in marble and terra-cotta and executed her totemic Game Figures. Nevelson showed in 1953 and 1955 at the Grand Central Moderns Gallery in New York. In 1957, she made her first reliefs in shadow boxes as well as her first wall. Two years later, Nevelson participated in her first important museum exhibition, Sixteen Americans at the Museum of Modern Art, New York, and the Martha Jackson Gallery gave her a solo show. She was included in the Venice Biennale in 1962. Nevelson was elected president of National Artists Equity in 1965 and the following year she became vice-president of the International Association of Artists. Her first major museum retrospective took place in 1967 at the Whitney Museum of American Art, New York. Princeton University commissioned Nevelson to create a monumental outdoor steel sculpture in 1969, the same year the Museum of Fine Arts, Houston, gave her a solo exhibition. Other Nevelson shows took place in 1970 at the Whitney Museum of American Art and in 1973 at the Walker Art Center in Minneapolis. Her art menu

Nevelson’s art menu Cathedral Painted Woods White Vertical Water
Artists menu Eyelashes Back to Bio

Robert Rauschenberg menu His art Artists
Robert Rauschenberg was born Milton Rauschenberg on October 22, 1925, in Port Arthur, Texas. He began to study pharmacology at the University of Texas at Austin before being drafted into the United States navy, where he served as a neuropsychiatric technician in the navy hospital corps in San Diego. In 1947, he enrolled at the Kansas City Art Institute and traveled to Paris to study at the Académie Julian the following year. In the fall of 1948, he returned to the US to study under Josef Albers at Black Mountain College, near Asheville, North Carolina, which he continued to attend intermittently through While taking classes at the Art Students League, New York, from 1949 to 1951, Rauschenberg was offered his first solo exhibition at the Betty Parsons Gallery. Some of the works from this period included blueprints, monochromatic white paintings, and black paintings. From the fall of 1952 to the spring of 1953, he traveled to Europe and North Africa with Cy Twombly, whom he had met at the Art Students League. During his travels, Rauschenberg worked on a series of small collages, hanging assemblages, and small boxes filled with found elements, which he exhibited in Rome and Florence. Upon his return to New York in 1953, Rauschenberg completed his series of black paintings, using newspaper as the ground, and began work on sculptures created from wood, stones, and other materials found on the streets; paintings made with tissue paper, dirt, or gold leaf; and more conceptually oriented works such as Automobile Tire Print (1953) and Erased de Kooning Drawing (1953). By the end of 1953, he had begun his Red Painting series on canvases that incorporated newspapers, fabric, and found objects and evolved in 1954 into the Combines, a term Rauschenberg coined for his well-known works that integrated aspects of painting and sculpture and would often include such objects as a stuffed eagle or goat, street signs, or a quilt and pillow. In late 1953, he met Jasper Johns, with whom he is considered the most influential of artists who reacted against Abstract Expressionism . The two artists had neighboring studios, regularly exchanging ideas and discussing their work, until 1961. Rauschenberg began to silkscreen paintings in He had his first career retrospective, organized by the Jewish Museum, New York, in 1963 and was awarded the Grand Prize for Painting at the 1964 Venice Biennale. He spent much of the remainder of the 1960s dedicated to more collaborative projects including printmaking, Performance , choreography, set design, and art-and-technology works. In 1966, he cofounded Experiments in Art and Technology, an organization that sought to promote collaborations between artists and engineers. In 1970, Rauschenberg established a permanent residence and studio in Captiva, Florida, where he still lives. A retrospective organized by the National Collection of Fine Arts, Washington, D.C., traveled throughout the United States in 1976–78. Rauschenberg continued to travel widely, embarking on a number of collaborations with artisans and workshops abroad, which culminated in the Rauschenberg Overseas Culture Interchange (ROCI) project from 1985 to In 1997, the Solomon R. Guggenheim Museum, New York, exhibited the largest retrospective of Rauschenberg’s work to date, which traveled to Houston and to Europe in 1998. menu His art

Rauschenberg’s Combines
Artists Rauschenberg’s Combines Monogram Stop Canyon Pilgrim menu Back to Bio

Jasper Johns menu His art Jasper Johns
Artists Jasper Johns Born in South Carolina during the Depression, Jasper Johns' interest in art led him to New York in the early 1950s where he worked as a commercial artist. Inspired by a dream, Johns painted his first painting of the American flag in This work became the first of a series that elevated commonplace objects to the status of art. In selecting a subject, Johns sought objects that "are seen and not looked at, not examined." Using the ancient technique of encaustic, blending pigment with a binder of hot wax, the artist is able to achieve the highly textural surfaces that characterize his work. His friendship with fellow artist Robert Rauschenberg proved influential, particularly during the early stages of Johns career. With Rauschenberg, Johns is frequently identified with Pop Art and Minimalism. He has outlived both of those movements and his current work defies categorization and is often self-referential in nature. In 1996 The Museum of Modern Art, New York, premiered a comprehensive retrospective of the artists work in both painting and print. His art menu

Johns’ art menu Back to Bio White Flag Target with Plaster Casts
Artists White Flag Back to Bio Target with Plaster Casts menu Flag with White Field

John Chamberlain menu His art b. 1927, Rochester, Ind.
Artists b. 1927, Rochester, Ind. John Chamberlain was born April 16, 1927, in Rochester, Indiana. He grew up in Chicago and, after serving in the navy from 1943 to 1946, attended the Art Institute of Chicago from 1951 to At that time, he began making flat, welded sculpture, influenced by the work of David Smith. In 1955 and 1956, Chamberlain studied and taught sculpture at Black Mountain College, near Asheville, North Carolina, where most of his friends were poets, among them Robert Creeley, Robert Duncan, and Charles Olson. By 1957, he began to include scrap metal from cars in his work, and from 1959 onward he concentrated on sculpture built entirely of crushed automobile parts welded together. Chamberlain’s first major solo show was held at the Martha Jackson Gallery, New York, in 1960. Chamberlain’s work was widely acclaimed in the early 1960s. His sculpture was included in The Art of Assemblage at the Museum of Modern Art, New York, in 1961, and the same year he participated in the Sï¿½o Paulo Bienal. From 1962, Chamberlain showed frequently at the Leo Castelli Gallery, New York, and in 1964 his work was exhibited at the Venice Biennale. While he continued to make sculpture from auto parts, Chamberlain also experimented with other mediums. From 1963 to 1965, he made geometric paintings with sprayed automobile paint. In 1966, the same year he received the first of two fellowships from the John Simon Guggenheim Memorial Foundation, he began a series of sculptures of rolled, folded, and tied urethane foam. These were followed in 1970 by sculptures of melted or crushed metal and heat-crumpled Plexiglas. Chamberlain’s work was presented in a retrospective at the Solomon R. Guggenheim Museum, New York, in 1971. In the early 1970s, Chamberlain began once more to make large works from automobile parts. Until the mid-1970s, the artist assembled these auto sculptures on the ranch of collector Stanley Marsh in Amarillo, Texas. These works were shown in the sculpture garden at the Dag Hammarskjï¿½ld Plaza, New York, in 1973 and at the Contemporary Arts Museum, Houston, in In 1977, Chamberlain began experimenting with photography taken with a panoramic Wide-lux camera. His next major retrospective was held at the Museum of Contemporary Art, Los Angeles, in 1986; the museum simultaneously copublished John Chamberlain: A Catalogue Raisonné of the Sculpture 1954–1985, authored by Julie Sylvester. In 1993, Chamberlain received both the Skowhegan Medal for Sculpture and the Lifetime Achievement Award in Contemporary Sculpture from the International Sculpture Center, Washington, D.C. The artist has lived and worked in Sarasota, Florida, since 1980. His art menu

Chamberlain’s art menu Back to Bio Mayonnaise Privet Glossalia Adagio
Artists Back to Bio Mayonnaise Privet Glossalia Adagio menu The Hedge

Andy Warhol menu His art . 1928, Pittsburgh; d. 1987, New York City
Artists . 1928, Pittsburgh; d. 1987, New York City Andy Warhol was born Andrew Warhola on August 6, 1928, in Pittsburgh. He received his B.F.A. from the Carnegie Institute of Technology, Pittsburgh, in That same year, he moved to New York, where he soon became successful as a commercial artist and illustrator. During the 1950s, Warhol’s drawings were published in Glamour and other magazines and displayed in department stores. He became known for his illustrations of I. Miller shoes. In 1952, the Hugo Gallery in New York presented a show of Warhol’s illustrations for Truman Capote’s writings. He traveled in Europe and Asia in 1956. By the early 1960s, Warhol began to paint comic-strip characters and images derived from advertisements; this work was characterized by repetition of banal subjects such as Coca-Cola bottles and soup cans. He also painted celebrities at this time. Warhol’s new painting was exhibited for the first time in 1962, initially at the Ferus Gallery, Los Angeles, then in a solo exhibition at the Stable Gallery, New York. By 1963, he had substituted a silkscreen process for hand painting. Working with assistants, he produced series of disasters, flowers, cows, and portraits, as well as three-dimensional facsimile Brillo boxes and cartons of other well-known household products. Starting in the mid-1960s, at The Factory, his New York studio, Warhol concentrated on making films that were marked by repetition and an emphasis on boredom. In the early 1970s, he began to paint again, returning to gestural brushwork, and produced monumental portraits of Mao Tse-tung, commissioned portraits, and the Hammer and Sickle series. He also became interested in writing: his autobiography, The Philosophy of Andy Warhol (From A to B and Back Again), was published in 1975, and The Factory published Interview magazine. A major retrospective of Warhol’s work organized by the Pasadena Art Museum in 1970 traveled in the United States and abroad. Warhol died February 22, 1987, in New York. His art menu

Warhol’s Pop Art menu Back to Bio Brillo Boxes Campbell’s Soup Can 1
Artists Brillo Boxes Campbell’s Soup Can 1 Mona Lisa menu BMW Art Car Back to Bio

Roy Lichtenstein menu His art Artists
. 1923, New York City; d. 1997, New York City Roy Lichtenstein was born on October 27, 1923, in New York City. In 1939 he studied under Reginald Marsh at the Art Students League in New York, and the following year under Hoyt L. Sherman at the School of Fine Arts at Ohio State University, Columbus. He served in the army from 1943 to 1946, after which he resumed his studies and was hired as an instructor. He obtained an M.F.A. in In 1951 the Carlebach Gallery, New York, organized a solo exhibition of his semi-abstract paintings of the Old West. Shortly thereafter, the artist moved to Cleveland, where he continued painting while working as an engineering draftsman to support his growing family. From 1957 to 1960 Lichtenstein obtained a teaching position at the State University of New York, Oswego. By then he had begun to include loosely drawn cartoon characters in his increasingly abstract canvases. From 1960 to 1963 he lived in New Jersey while teaching at Douglass College, a division of Rutgers University in New Brunswick, New Jersey. He met artists such as Jim Dine, Allan Kaprow, Claes Oldenburg, Lucas Samaras, George Segal, and Robert Whitman, who were all experimenting with different kinds of art based on everyday life. In 1961 he began to make paintings consisting exclusively of comic-strip figures, and introduced his Benday-dot grounds, lettering, and balloons; he also started cropping images from advertisements. From 1964 and into the next decade he successively depicted stylized landscapes, consumer-product packaging, adaptations of paintings by famous artists, geometric elements from Art Deco design (in the Modern series), parodies of the Abstract Expressionists’ style (in the Brushstrokes series), and explosions. They all underlined the contradictions of representing three dimensions on a flat surface. In the early 1970s he explored this formal question further with his abstract Mirrors and Entablatures series. From 1974 through the 1980s he probed another long-standing issue: the concept of artistic style. All his series of works played with the characteristics of well-known 20th-century art movements. Lichtenstein continued to question the role of style in consumer culture in his 1990s series Interiors, which included images of his own works as decorative elements. In his attempt to fully grasp and expose how the forms, materials, and methods of production have shaped the images of Western society, the artist also explored other mediums such as polychromatic ceramic, aluminum, brass, and serigraphs. From 1962 the Leo Castelli Gallery, New York, held regular exhibitions of the artist’s work. Lichtenstein participated in the Venice Biennale in 1966, and was honored with solo exhibitions in 1967 and 1968 at the Pasadena Art Museum and the Solomon R. Guggenheim Museum, New York, respectively. The artist was the subject of a major retrospective at the Guggenheim in 1994, three years before his death on September 30, 1997. His art menu

Lichtenstein’s art Artists Masterpiece Hopeless Power menu Back to Bio

Damien Hirst menu His art
Artists In 1965 Damien Hirst was born in Bristol. He attended the Goldsmith College in London from 1986 to 1989 to study the only course of Fine Art that dealt with different genres. The first time Hirst, and some of his fellow students, attracted attention was as early as in 1988 with their exhibition "Freeze" which they presented in an empty warehouse in the dock area of London. In this exhibition Charles Saatchi, the famous art collector and advertising tycoon , recognised Hirst's talent and started to regularly present Hirst's works in his exhibition "Young British Artists". Saatchi became Hirst's most important sponsor. In 1990 Damien Hirst continued to show his artworks in single exhibitions in the Woodstock Street Gallery in London, the Institute of Contemporary Art (London) and the Emmanuel Perrotin Gallery in Paris. Hirst received a nomination for the renowned Turner Prize for his work 'The Physical Impossibility of Death in the Mind of Someone Living', a 14-feet long shark in formaldehyde in a vitrine. In 1994 another formaldehyde installation called 'Away from the Flock' showing a sheep in a tank caused a scandal with a disgruntled visitor pouring black ink into it. The controversary about the British artist reached its peak when Hirst received the Turner Prize in 1994 for his animal installations. At the same time these installations achieved premium prices on the art market. However, as early as 2 years later the public started to lose its interest in the artist with the tendency to self-aggrandizement. Hirst began experimenting with other areas, in 1996 he presented his first short movie "Hanging Around", he opened a restaurant and produced pop songs. In 1996 Damien Hirst published his biography at the age of 33. Coverage of Hirst increased only in 2000 when a spectacular exhibiton with his works opened in New York. In the last years Damien Hirst has focused on photorealistic painting. His art menu

Hirst’s art menu Back to Bio Away From the Flock Mother and Child
Artists Away From the Flock Mother and Child The Impossibility of Death in the Mind of Someone Living menu Back to Bio

Pepon Osorio menu His art 38 Artists
Pepón Osorio was born in Santurce, Puerto Rico, in After graduating from Universidad Inter-Americana in Puerto Rico in 1974, Pepón Osorio moved to New York, where he earned a BS from Herbert H. Lehman College and an MA from Columbia University. Pepón Osorio’s art is rooted in his experiences as a boy growing up in Puerto Rico, as a social worker in the Bronx and, now, as an artist living in Philadelphia. He draws on individual, familial and cultural traditions and values as sources for his work. In 1983, Pepón Osorio and Bessie-award winning choreographer Merian Soto, co-founded Pepatian, a multi-faceted center for the arts in the Bronx. Materials from Pepatian articulate thoughts that have been the underlying current of the artist’s career: “Pepón Osorio uses multiple ideas, concepts and a plethora of fragments to evoke a fluid discourse based in the Latino and, more specifically, Puerto Rican experience. The empowering act of reclaiming symbols and remnants of a resilient culture reveal a body of knowledge that stimulates viewers to question and re-examine their core values.” Pepón Osorio’s large-scale installations have been exhibited at the Whitney Museum of American Art (as a commissioned part of the 1993 Biennial); El Museo del Barrio, New York (a retrospective); Cleveland Institute of Art; Pennsylvania Academy of Fine Arts; El Museo de Arte de Puerto Rico; El Museo de Arte Contemporaneo de Puerto Rico; Contemporary Museum, Baltimore; Bronx Museum of Art; International Center of Photography Midtown, New York; Contemporary Arts Museum, Houston; Africus Institute for Contemporary Art, Johannesburg, South Africa; Museum of American Art, Smithsonian Institution, Washington, D.C.; Walker Center for the Arts, Minneapolis, and High Museum of Art, Atlanta. Still, some of his most noteworthy exhibitions have been outside formal settings. Las Twines (The Twins) and Badge of Honor were initially exhibited in storefronts, and Home Visits has moved among private homes, so that its story could be brought to individuals in intimate, personal environments. Numerous residencies have resulted in such award-winning works as the I Have a Story to Tell You casita at the Congreso de Latinos Unidos in Philadelphia. Pepón Osorio has received numerous awards, including the MacArthur Foundation Fellowship, the Cal Arts/Alpert Award for Visual Arts, the Joan Mitchell Foundation Artist’s Fellowship, the International Association of Art Critics Award, the New York Foundation for the Arts Artist Fellow in Sculpture, the Louis Tiffany Comfort Award, the Pollock-Krasner Foundation Fellowship, the National Endowment for the Arts Sculpture Fellowship and the New York Dance and Performance Bessie Award. His art menu 38

Osorio’s art menu Back to Bio Boricua Chandelier Detail from:
Artists Boricua Chandelier Back to Bio Detail from: No Crying in the Barbershop menu La cama 39

John Dahlsen menu His art 40 Artists
John Dahlsen studied at the Victorian College of the Arts and at the Melbourne College of Advanced Education. Nationally regarded in Australia, as an award winning artist, he won the prestigious Wynne prize at the Art Gallery of NSW in 2000 and was selected as a finalist in 2003 and again in In 2006 he was a finalist in the Sulman Award at the Art Gallery of NSW. He has won several grants from various funding bodies, as well as winning other significant aquisitive and non aquisitive art prizes. He has lectured at many Australian universities, and has been an invited speaker at architectural and environmental symposiums both in Australia and Internationally. For 20 years he has been holding regular solo exhibitions of his work, both in capital cities, more recently in Melbourne at Australian Art Resources and in regional areas of Australia, including the Gold Coast City Art Gallery, the Coffs Harbour City Art Gallery, Grafton Regional Art Gallery and Tweed River Regional Art Gallery, as well as internationally, where he exhibited at the Australian Embassy in Washington D.C. In late 2003 he exhibited at the Florence Biennale of Contemporary art, and won a prestigious award for mixed media/new media. His more recent solo international exhibitions were in New York in Feb 2004 and in Milan in May. John is also involved in many group exhibitions from year to year both within Australia and internationally, with a current exhibition in which he is featured at the Powerhouse Museum in Sydney, planned to continue until the year He was also in the 2004 group show "Art From Detritius" held in New York and at Gensler in San Francisco in July also saw his work in "Recent Acquisitions" at the Whipple Art Gallery in Minnesotta USA. John was selected to be a cultural ambassador for Australia, by an international jury, to represent Australia at the Athens Olympics of Visual Arts 'Artiade' Exhibition 2004, held during August / September. In October 2004, as a part of Sculpture By The Sea in Sydney, John's most recent commission by Absolut of Sweden was unveiled. "Absolut Dahlsen" signals the first time an Australian artist has been commissioned by this company, he joins the ranks of such renowned artists as Andy Warhol, Keith Haring, Francesco Clemente and Damien Hirst, who have also been commissioned to make an artwork by Absolut. He curated as well as exhibited in the exhibition "Recycled Revisited", at the Samuel Dorsky Museum in New York State from the 1st July - 18th September In September 2005, he was the artist in residence, courtesy of Jefferson City in Missouri USA, where he made a public artwork for the city. In December 2006 John was 2nd prizewinner in Australias richest Art prize, "The Signature Of Sydney Prize". \December 2007 saw him feature in an exhibition titled "Ecological Integrity: On the Brink" at the Ulster County Community College's Muroff-Kotler Visual Arts Gallery in New York. His art menu 40

Dahlsen’s Environmental Art
Artists Totems Blue Rope Back to Bio Sculpture by the Sea menu 41

Found Object Materials
Old bits of wood Discarded game pieces Bits of fabric Broken ceramic or tiles Small toys Buttons Broken jewelry Craft scraps Old greeting cards Postcards Stamps Ticket Stubs Maps Photographs Anything linear-like string Mementos Wooden or plastic spools Popsicle sticks Small boxes and containers Stickers Cookie cutters Old magazines Keep looking- the possibilities are endless! menu 42

A Brief History of Found Object Art
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An Interactive Teaching Module by: Francella Smith

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An Interactive Teaching Module by: Francella Smith

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