8- Robert Rauschenberg

Rauschenberg's approach was sometimes called "Neo-Dada," a label he shared with the painter, close friend, and sometime lover Jasper Johns.[17] Rauschenberg's oft-repeated quote that he wanted to work "in the gap between art and life" suggested a questioning of the distinction between art objects and everyday objects, reminiscent of the issues raised by the notorious "Fountain," by Dada pioneer, Marcel Duchamp. At the same time, Johns' paintings of numerals, flags, and the like, were reprising Duchamp's message of the role of the observer in creating art's meaning.
Alternatively, in 1961, Rauschenberg took a step in what could be considered the opposite direction by championing the role of creator in creating art's meaning. Rauschenberg was invited to participate in an exhibition at the Galerie Iris Clert, where artists were to create and display a portrait of the owner, Iris Clert. Rauschenberg's submission consisted of a telegram sent to the gallery declaring "This is a portrait of Iris Clert if I say so."


Robert Rauschenberg, Riding Bikes, Berlin, Germany, 1998.
By 1962, Rauschenberg's paintings were beginning to incorporate not only found objects but found images as well - photographs transferred to the canvas by means of the silkscreen process. Previously used only in commercial applications, silkscreen allowed Rauschenberg to address the multiple reproducibility of images, and the consequent flattening of experience that that implies. In this respect, his work is contemporaneous with that of Andy Warhol, and both Rauschenberg and Johns are frequently cited as important forerunners of American Pop Art.
In 1966, Billy Klüver and Rauschenberg officially launched Experiments in Art and Technology (E.A.T.) a non-profit organization established to promote collaborations between artists and engineers.
In 1984, Rauschenberg announced his Rauschenberg Overseas Culture Interchange, or ROCI, at the United Nations. This would culminate in a seven year, ten country tour to encourage "world peace and understanding," through Mexico, Chile, Venezuela, Beijing, Lhasa (Tibet), Japan, Cuba, Soviet Union, Berlin, and Malaysia in which he left a piece of art, and was influenced by the cultures he visited. Paintings, often on reflective surfaces, as well as drawings, photographs, assemblages and other multimedia were produced, inspired by these surroundings, and this was considered some of his strongest works. The ROCI venture, supported by the National Gallery of Art in Washington, D.C., went on view in 1991.
In 1986, he was commissioned by BMW to paint a full size BMW 635 CSi for the sixth installment of the famed BMW Art Car Project. Rauschenberg's contribution was the first to include the wheels into the project, as well as incorporating previous works of art into the design.
In addition to painting and sculpture, Rauschenberg's career has also included significant contributions to printmaking and Performance Art. He also won a Grammy Award for his album design of Talking Heads' album Speaking in Tongues. As of 2003 he worked from his home and studio in Captiva, Florida.
In a famously cited incident of 1953, Rauschenberg erased a drawing by de Kooning, which he obtained from his colleague for the express purpose of erasing it as an artistic statement. The result is titled Erased de Kooning.[18][19] In 1964 Rauschenberg was the first American artist to win the Grand Prize at the Venice Biennale (Mark Tobey and James Whistler had previously won the Painting Prize). After that time, he enjoyed a rare degree of institutional support. In 1951 Rauschenberg had his first one-man show at the Betty Parsons Gallery[20] and in 1954 had a second one-man show at the Charles Egan Gallery.[21]

Rauschenberg ' e bir noktada geri donecegim.

6- Paul Klee

Klee'yi ilk bayindirlik ve iskan bakanliginin duvarlarinda gormustum, cok kucukken.

5- Joseph Beuys

bir fluxuscu daha, viva la fluxus!

4- gerard richter

fazla uzakta aramaya gerek yok, wikipediadan kisa bir alinti

Richter's work is full of tension between depicted reality and the actuality of painting: process and material. From the 1950s and his time in Eastern Germany's Dresden, dresden, gitmeden gittigimi sandigim yerlerden birtanesi. "photographic imagery"the artist has been known for his photo-paintings, particularly his landscapes, and his involved abstract paintings. Despite the scope of this body of work—which is commonly misunderstood as polar—Richter's paintings consistently support a unified theme that is twofold: 1. Images (and ideas and ideals) are static, superficial, unachievable and are to be doubted; and, 2. Reality is a process of imagination, material creation and revision. Richter’s subject is the range of relationships between illusion and this reality, his painting.
Richter has stated that the use of photographic imagery as a starting point for his early paintings resulted from an attempt to escape the complicated process of deciding what to paint, along with the critical and theoretical implications accompanying such decisions within the context of a modernist discourse. To achieve this, Richter began amassing photos from magazines, books, etc, many of which became the subject matter of his early photography-based paintings. Thus the Atlas was born; a collection of thousands of photographs, and cropped magazine and newspaper images, compiled in a single volume.

bu link de benden: gadamer the relevance of the beautiful
http://www.amazon.com/Relevance-Beautiful-Other-Essays/dp/0521339537

3- bruce nauman

listedeki en favorilerimden biri, ozellikle neonlari, dili diline dolamasi, concrete poetrisi, instructionlari, kitaplari, yuruyusu, sesleri ama - en cok da neonlari. en az da performanslari, ama bu benim defektim, performans sanatlarina olan inancimin azligindan kaynaklaniyor, tiyatro modern dans falan da dahil izlemeye tahammul edemiyorum. biraz baba-sci-fi iliskisi gibi, eminim disarda bilimkurgu seven cool babalar vardir ama bizim mahallede yok, neyse nauman a donersek, bakalim mahalle ne demis:


SHOULD ART BE SEEN AND NOT heard? An old-fashioned notion--the catalog to the Bruce Nauman retrospective, currently at New York City's Museum of Modern Art, has a human ear on its cover. And indeed, no show was ever noisier. Go in, and you hit a wall of sound, all disagreeable: moanings and groanings; the prolonged squeak of something being dragged over a hard surface, like a knife on a plate; repetitious rock drumming; voices reciting mantra-like inanities; and (in its own room full of TV monitors titled Clown Torture) the hoarse voice of Nauman, dressed as a clown, in a baggy suit of vertical stripes that slyly recalls the garb of concentration-camp prisoners, shrieking, "No, no, no, nonono!" while writhing and jerking on the floor.

BEING A NUISANCE
By ROBERT HUGHES

Nauman, beyond much dispute, is the most influential American artist of his generation. Born in 1941, he is of the same artistic age as Eva Hesse, Richard Serra and Susan Rothenberg (whom he married in 1989), but the artists whose work he most counts for are younger; it is safe to say that hardly a corner of the mix of idioms at the end of the 1980s, from video to body pieces to process art to language games of various sorts, escaped Nauman's influence.

There's no mystery about why this should be so. What Nauman practices is a form of psychic primitivism, or atavism if you prefer. His art is chiefly about two states: compulsion and regression. When you see a videotape of him smearing his face with black or green greasepaint, you aren't sure whether he's disguising himself or simulating the fecal games of a backward child. Autism is the governing metaphor of his work's "look"--the long-winded rituals of trivial movement, the ejaculatory phrases, the bouts of ungovernable rage.

He is therefore a kind of guru to artists who seek gnomic "enactments" of pain, are obsessed by splits between private and public identity--including their own feelings of victimization--and treat the body as canvas. Not for nothing does one of Nauman's video pieces feature a bewildered rat in a Plexiglas maze, scuttling about under the bombardment of rock drumming. It's Nauman's idea of the relationship between artist and audience. The artist as hero is long gone from American culture, and the artist as social critic is ineffective, but Nauman, with the example of Dada before him and a slackly therapeutic culture all around, has cut himself a different role: the artist as nuisance.

Nauman doesn't think art has much to do with pleasure. Just about everything that could turn you off is catnip to him: aggro, solipsism, tension, repetition, torpor and bad jokes that may have come out of a misanthrope's fortune cookie. Boredom too. Try watching a fuzzy tape of Nauman overstretching a simple phallic pun by very slowly "manipulating" a long fluorescent tube. You don't so much enjoy this show as endure it; you get through it. Then, in the coffee shop, you peruse the catalog and find such hyperbolic drivel as this, by co-curator Kathy Halbreich: "Like the great 17th century metaphysical poet John Donne, who, faced with a world of expanding information and concomitant chaos, mastered paradox through meditation.Bruce Nauman creates art that is a drama of a particularly physical sort of imagining." Well, yes: remember Black Balls, 1969, eight minutes of Nauman's fingers rubbing black pigment in close-up on his scrotum? "O my America! my new-found land."

http://www.tate.org.uk/modern/exhibitions/nauman/

link: Meredith Monk,

Instructions

http://www.youtube.com/watch?v=Qml505hxp_c

March 2, 1970
Bruce Nauman

Drill a hole into the heart of a large tree and insert a microphone. Mount the amplifier and speaker in an empty room and adjust the volume to make audible any sound that might come from the tree.
September, 1969

Drill a hole about a mile into the earth and drop a microphone to within a few feet of the bottom. Mount the amplifier and speaker in a very large empty room and adjust the volume to make audible any sounds that might come from the cavity.
September, 1969


to listen : http://www.ubu.com/sound/monk.html

link: samuel beckett

Mar 16th 2006
From The Economist print edition

“NOTHING is funnier than unhappiness,” says Nell, an immobile, daffy dustbin-dweller, in Samuel Beckett's play “Endgame”. For Beckett, an Irish playwright born 100 years ago who won the Nobel prize in literature in 1969, adversity and decrepitude were a rich source of humour. The frequently heard charge, that his stuff is morbid and joyless, is altogether wide of the mark.

London and Dublin are celebrating his centenary with festivals that kick off this Sunday. A highlight in both cities will be a revival of the 1984 production, overseen by Beckett himself, of “Waiting for Godot”, his best-known work and possibly the most influential play of the 20th century. “Godot” baffled audiences and critics when it was first performed, in French, in Paris in 1953. Though the play had its champions from the start, the verdict of an Irish critic, Vivian Mercier, that “Godot” is a play in which “nothing happens, twice” stuck to its author like a curse. …

2- pablo picasso

geciyoruz


link: Georges Braque link: Marshall McLuhan link: hot and cold media link: Alexis de Tocqueville

1- andy warhol

ben istemesem bile o her yerde, ustune yazilanlar artik "andimiz" tadinda, okurken dedikodu degilse dinlemek bile gelmiyor icimden, factory girldeki sienna miller guzeldi ve fakat.
fresh bir link bulmak basli basina bir mission, eminim vardir ama, benim zamanim yok daha 99 tane var
bu sebepten karsinizda neseli mi neseli Claes Oldenburg ve bu sene hayatini kaybeden karisi (kadinin adi yok)








The artistic team of Coosje van Bruggen and Claes Oldenburg has to date executed more than forty large-scale projects, which have been sited in various urban surroundings in Europe, Asia, and the United States: