Notebook

Notebook, 1993-

APPROACHES

Bartleby [Look It Up] -- Oxford Art Online - [By Subscription] -- Words of Art: An On-line Glossary of Theory and Criticism for the Visual Arts -- Glossary - ['Artist's on Art' / Dore Ashton] -- ArtLex - [Dictionary of Art Terms]

J


Jacobean

Jeune Peinture Belge

Jiangnan-style Painting

Jiangxia School - "Artists in Nanjing and, more broadly, Hunan Province who followed the style of the Ming artist Wu Wei by using swift, even brash brushwork and emphasizing emotional expression and bold effects."[Three Thousand Years of Chinese Painting. Yale University and Foreign Language Press. 1997]

Jing-Guan Style of Landscape

Jingjiang School

Jugendstil [See Art Nouveau]

Junk Art "Art which, discounting the traditional materials of fine art, is constructed from worthless materials, refuse, rubbish and urban waste. The Junk movement is traced in the U.S.A. to the 'combines' of Robert Raushenberg, who in the mid 1950s began to affix to his canvases rags and tatters of cloth, torn reproductions and other waste materials. The name 'Junk art' was first applied to these by the critic Lawrence Alloway and was then extended to sculpture made from scrap metal, broken machine parts, used timber and so on by John Chamberlain, Robert Mallery, Richard Stankiewicz, Mark di Suvero, Lee Bontecou, etc. In so far as Junk art represented a revolt against the traditional doctrine of fine materials and a desire to show that works of art can be constructed from the humblest and most worthless things, it may be plausibly traced back to Kurt Schwitterrs and the collages of early Synthetic Cubism. There was, however, a widespread revival of this attitude during the 1950s and the Junk art of the U.S.A. had its analogies in the work of Tápies and others in Spain, Burri and Arte Povera in Italy and similar movements in most European countries and in Japan, where the litter and refuse left over from the war was sometimes converted to artistic use. In the case of Rauschenberg and others the use of Junk material was objective and unemotional, or at most carried a suggestion of the rapidity with which everyday articles such as milk bottles or comic strip cartoons turn into refuse and waste. In other cases, including the Junk sculpture of California and the work of Burri and Tápies, a nostalgic emotional suggestion was conveyed by the use of discarded machine parts, rotted beams and rusted metal, torn and dirty textile scraps, and the detritus generally of industrialized urban life."[Osborne, Harold, editor. The Oxford C ompanion to Twentieth-Century Art. Oxford University Press. 1988.]



















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