chapter 2
TRANSCRIPT
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the art of being artless
ART111
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Alfred Stieglitz
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Alfred Stieglitz, Georgia O’Keeffe, 1927
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Alfred Stieglitz, The Steerage, 1907
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Walker Evans, Self-Portrait, 1927
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Walker Evans, 42nd Street, 1929
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Walker Evans, Mother and Children in Doorway, Havana, 1933
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Walker Evans, Subway Portrait, 1938
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Dorothea Lange, circa 1920s
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Dorothea Lange, Dust Bowl Migrant Mother, Nipomo, CA, 1936
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Dorothea Lange, Child Living in Oklahoma City Shacktown 1936
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Dorothea Lange, Scene along Skid Row Howard Street, 1937
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Bob Ross
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Vintage Paint-by-Number Painting
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Andy Warhol, Do It Yourself, 1962
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100-year old Grandma Moses painting at her farm, 1960
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Grandma Moses, 1956
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Grandma Moses
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Lee Krasner, Birth, 1956
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Lee Krasner in her studio
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Franz Klein in his studio
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Franz Klein, New York, 1953
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Willem De Kooning in his studio, 1950s
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Willem De Kooning, Woman and Bicycle, 1952-3
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Jackson Pollock in his studio
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Winston Churchill plein air painting
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Winston Churchill, The Blue Room, 1948
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USA, c. 1930, from Thomas Walther Collection
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Vintage Double Exposure Snapshot
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Vintage Snapshot
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“But a deeper issue may be our new equation of art with perfection, an equation hastened by the spread of technology. We now expect flawless recordings by musicians, perfect photographs by artists. We have easy access to all this, which means that, as in so many other aspects of life, we prefer to cede these endeavors to professionals, figuring we can't do them as well, as if something like art is worth doing only if you do it like a professional. Art isn't about perfection. Before cameras, travelers sketched so that they could record what they saw on trips, as souvenirs, in the same way that bourgeois families, in the days before recordings, used to listen to music by making it themselves at home on the piano or singing in the parlor. There was a more intimate connection between the amateur musician or artist and the professional, because amateurs had firsthand experience. What's lost today is not just the accidental masterpiece but also that sense of art not as a remote commodity but as something we all make. “
Interview with Michael Kimmelman
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Read:• Chapter 2, “The Art of Being Artless”
Respond on Verso:• Reflect on the reading.
Respond on Flipgrid:• Find a photograph that is deeply meaningful to
you. Share the photo & describe its importance. Bring the photo to class next week to share.
Respond on Instagram: #art111happyaccidents• Take 10 photographs this week of moments
that you wanted to remember…for their beauty, importance, etc.
• DO NOT edit them! Be content with “happy accidents”