Art1100 LVA 23 Online

Art 1100

Joan Jonas“They Come to Us without a Word”U.S. Pavilion, Venice Biennale, 2015

Modernism Escape the influence of history.Belief in cultural progress (linear history).Belief in science as a virtue (objectivity).Belief in universal truths that can be discovered.Fascination with the “Primitive” or elemental.

Motto: “Make it New”

Postmodernism Believes that we are embedded in history. Anti-essentialist, we determine our character. Skeptical of the idea of progress. Believes that objectivity isn’t possible. Your viewpoint shapes your thought processes.

ConsequencesDraws influences from all time periodsNo-essential form to any mediaEmbraces Non-western CultureEmphasizes individual experience

“Movements”70’s EarthworksConceptual ArtFeminism

80’sAppropriationVideo ArtNeo-Expressionism

90’sIdentity PoliticsGlobalismPost-Colonialism

00‘sInstallationRelational Aesthetics

The Postmodern World

Pluralism: multiple acceptable artistic movements/media existing at the same time. Multiple ideas of what makes “good” art exist simultaneously.

FEMINISM

In 1971, art historian Linda Nochlin asked a now famous question,

“Why have there been no great women artists?”

The answer was not immediately clear, but was instead a mix of factors from lack of available training, restricted gender roles and even the way “the artist” was conceptualized in culture that provided barriers to women.

Feminism and Feminist Art

Feminist Art

1). Asserted that the “domestic crafts” and things that were traditionally “women’s work” were fine art.

2).Made political artwork criticizing social structures that excluded women.

3). Searched for a feminine view of history and art.i.e. Rewrite the list of famous artists. i.e. Look for examples of matriarchal societies.

4). Proudly represented the female body in its complexity.

Craft vs. the “Fine Arts”

CraftFunctional“Commercial”DependentSkill-basedFemale?

Fine ArtsOnly VisualNon-commercialAutonomousIdea-basedMale?

“While there are many objects that are excluded from the category of fine art whose makers are male, those objects of domestic use whose creation was predominantly the occupation of women were all marginalized by this category and its attendant values (Parker and Pollock 1981)”

Miriam Shapiro, Heartfelt, 1979.

Feminism was a social and political movement in the 70’s that paved the way for more diversity in art and recognition of women artists. This image combines painting and ”female craft” to state that postmodern art offers diversity in media and style, but also in gender.

"Gates of Paradise," by Miriam Schapiro, 1980

Sheila Hicks Bamian (Banyan) (1968-2002) wool and acrylic

Incorporates “craft” materials.

Eva Hesse. Right After, 1969.

Womanhouse, (1972) was the first project of the newly-established Feminist Art Program at CalArts.

Judy Chicago and Miriam Schapiro, working with their students took over an old mansion in Hollywood for installations and performances exploring women’s domestic space.

***For video see Feminism subfolder.***

Once the house was prepared, the women turning the rooms and spaces of the house into artworks that addressed personal issues gleaned from their own experiences as women, including housework, mothering, the gendered division of labor, aging, and menstruation.

A major influence for the artists was Betty Friedan’s The Feminine Mystique (1963), which challenged societal expectations that relegated women to the domestic arena.

Womanhouse was the first feminist work of art to receive national attention when it was written about in Time magazine. The project was groundbreaking in American art in ways that can be seen to dovetail with emerging Post-modernism. Except for a few pieces, the work was destroyed after completion.

Womanhouse: Bridal Staircase

At completion, Womanhouse had 18 installations, including three bathrooms, two closets, a nursery, the kitchen, the stairway, and the garden. Some of the best known of these are Menstruation Bathroom and Nurturant Kitchen. The latter focused on the drudgery of housework as well as societal expectations regarding the role of women as nurturers within the family dynamic.

While installations such as Leah’s Room included performances, the living room was reserved for the presentation of a series of performances including The Cock and Cunt Play and Waiting. The former was a ribald but honest look at how housework was traditionally assigned to men and women based on essentialist notions about the body.

Womanhouse: Dining Room

Womanhouse: Lea's Room: woman applying and reapplying makeupLea's Room, 1972

Clothing and costume also played a crucial role in Leah's Room, created by Karen LeCocq and Nancy Youdelman. Inspired by the novel Chéri, Colette's story about an aging courtesan, this heavily perfumed bedroom was filled with antiques . A woman (LeCocq) slowly and silently applied cosmetics and then removed them, causing many women to weep openly as they observed the performance.

Womanhouse: Painted Room

Womanhouse: Nursery

Womanhouse: Lipstick Bathroom

Womanhouse: Fright Bathroom

Womanhouse: Linen ClosetWomanhouse: Web Room (Crocheted Environment)

Essentialism:The practice of regarding something (as a presumed human trait) as having innate existence or universal truth rather than being a social or ideological construct.

This early feminist art was essentialist; it focused on women’s bodies and defined gender in biological terms.

i.e. A feminine “essence”, the way to be female.

The second wave of feminist art defined gender in more relativist terms.

Judy Chicago, The Dinner Party, 1974-1979.

Judy Chicago’s The Dinner Party is a large, complex, mixed-media installation dedicated to hundreds of women and women artists rescued from anonymity by early feminist artists and historians. It took five years of collaborative effort to make, and it drew on the assistance of hundreds of female and several male volunteers working as ceramists, needleworkers, and china painters. The Dinner Party is composed of a large, triangular table, each side stretching 48 feet; Chicago conceived of the equilateral triangle as a symbol of both the feminine and the equalized world sought by feminism. Along each side of the table are 13 place settings representing famous women— 13 being the number of men at the Last Supper as well as the number of witches in a coven.

Feminist Art1). Presented the “domestic crafts” and things that were traditionally “women’s work” as fine art.

2).Made political artwork criticizing social structures that excluded women.

3). Searched for a feminine view of history and art.i.e. Rewrite the list of famous artists.

4). Proudly represented the female body in its complexity.

Judy Chicago, Rejection Quintet: Female Rejection Drawing, 1974.

Judy Chicago, Queen Elizabeth, 1972

Carolee Schneemann,Interior Scroll (1975

Performance

Feminist art also sought to reclaim the female body as a creative force, not as something to be covered up. Whose use could be defined by women themselves.

For Schneemann’s performance Interior Scroll (1974), the artist ritually prepared herself for the action, first by undressing, wrapping herself in a sheet and reading from her book, Cézanne, She Was a Great Painter, while taking action poses similar to those of a life drawing model. She then outlined her face and body in strokes of paint, before slowly extracting a long, thin scroll of paper from her vagina.

As she unfurled the scroll she read its contents to the audience; it was a narrative, taken from a conversation with a filmmaker (a woman), who associated the artist’s works with irrational, unstructured content and process—the feminine. The action of pulling the scroll from her vagina represented a reclamation of personal control over creative production.

Performance

Performance Carolee Schneemann,Interior Scroll (1975

Mierle Laderman Ukeles. tford Wash: Washing/Tracks/Maintenance, 1973.

Feminism and Feminist ArtPerformance

Part of reclaiming the feminine body, was affirming the traditionally feminine kinds of work.

Mierle Laderman Ukeles wrote the Manifesto for Maintenance Art, 1969! to promote ‘maintenance' ("sustain the change; protect progress") as an important value in contrast to the excitement of avant-garde and industrial ‘development'.

Martha Rosler Semiotics of the Kitchen, 1975***For video see Feminism subfolder.***

Feminism and Feminist ArtPerformance

Martha Rosler, Untitled (Cargo Cult); from the series Body Beautiful, or Beauty Knows No Pain 1965-1974

Martha Rosler also used collage to combine women magazines with news images. The scenes of affluent American life collide with scenes of global industry and the Vietnam war.

Rosler, MarthaCollage (Photomontage)1970-71

Martha Rosler, Red Stripe KitchenPhotographic collage.1967 - 1972

Feminism marks a sharp break from Modernism. It showed that abstract art was largely an aloof creation of the male dominated art world ill equipped to practically help women. Abstract art couldn’t help more women get shows, or work to free women from restrictive gender expectations.

What was needed was a more socially engaged art form. For women to be acknowledged they needed to try and find their own contribution. Feminism was Postmodern in that it looked into the past to find examples of women in art.

In this way Feminism was an important example for future art movements.

POSTMODERN ARCHICTECTURE

https://vimeo.com/94449276

A brief reminder about Modernism

Postmodern Architecture

PROBLEM: Thought Modernist architects had ignored human needs in their quest for uniformity and function.

SOLUTION:•New architecture should address the complex mix of “high” and “low” architecture.•Should embrace past architectural styles•Began to re-apply decoration to buildings.

“Less is more,” but “Less is a bore.”

Robert Venturi VANNA VENTURI HOUSE Chestnut Hill, Pennsylvania. 1961 –1964.

Shaped facade.Not symmetrical.Irregular floor plan. Combines various historical styles together into one buildingUses decoration without function.

Vanna Venturi House ...Robert Venturi

Model date: c. 1959-62

While writing his treatise on Postmodernism, Complexity and Contradiction in Architecture (1966),Venturi designed a house for hismother that illustrated many of his new ideas. The shape of the façade returns to the traditional Western “house” volumes and shapes that Modernists rejected because of their historical associations. Its vocabulary of triangles, squares, and circles is arranged in a complex asymmetry that gives up the symmetrical rigidity of Modernist design. While the curved molding over the door is simply decorative. The most disruptive element of the façade is the deep recess over the door, which opens to reveal a mysterious upper wall (which turns out to be a penthouse) and chimney top.

Robert Venturi VANNA VENTURI HOUSE

Chestnut Hill, Pennsylvania. 1961 –1964.

The interior is also complex and contradictory. The irregular floor plan, including an odd stairway leading up to the second floor, is further complicated by irregular ceiling levels that are partially covered by a barrel vault.

Designed by Robert Venturi"Sheraton" Chair Designed 1978-84; made 1985

Designed by Robert Venturi,"Gothic Revival" Chair1979-1984;

Postmodern Design

Carlton room divider1981Ettore SOTTSASS (designer)MEMPHIS, Milan

Michael Graves, Portland Building, 1982

Postmodernism brings a return to historical styles and decoration.

Combines Old and New!

Michael Graves The Plocek House (1977), Warren, NJ

Philip Johnson's Sony Tower

(formerly AT&T Building), 1984NYC

Philip Johnson designed the AT&T Building (now the Sony Building; 1979–84). Various period references, mostly Renaissance and Baroque, were overshadowed by the celebrated Chippendale (like the chair back) pediment that provides the building with a unique profile on the Manhattan skyline.

Bank of America Center in Houston by John Burgee and Philip Johnson.

Charles Moore, Piazza d’Italis, New Orleans, 1978

James Stirling, Neue Staatsgalerie, Stuttgart, Germany, 1984

The Neue Staatsgalerie museum is a series of integrations, both with the site and with periods of art and design. Stirling combines materials of the past, travertine and sandstone, with colored industrial steel throughout the museum as a way to pay respect to the art and design of the 19th Century by developing a relationship with modern materials resulting in a uniquely Post Modern museum.

Harold Washington Library, Hammond, Beeby and Babka Architects,1991

Postmodern Architecture in Chicago

In 1987, Beeby and his firm (then Hammond, Beeby & Babka) designed and built the new Chicago Public Library, the Harold Washington Library Center (1987–91).

The building is contextual architecture, in this case the Neo-classical traditions of 19th-century Chicago. With its grand arched windows, overhanging cornice, and ornate Neo-classical details such as swags and towering finials, the Library Center formed a controversial contribution to Chicago’s architectural landscape.

The top portion and most of the west side, facing Plymouth Court, is glass, steel and aluminum. The roof is a pediment that harkens to the Mannerist style. In 1993, seven ornamentations on the roof were added. The decorations on the Congress and Van Buren sides are seed pods, which represent the natural bounty of the Midwest. Others show owls, representing the Greek symbol of knowledge, perched in foliage.

Harold Washington Library, Hammond, Beeby and Babka Architects,1991

Postmodern Architecture in Chicago

Most recent shopping malls are in the Postmodern style , with things like nonfunctional “clocktowers” or decorative gabled windows.

Santiago Calatrava - Milwaukee Art Museum, 2001

The Milwaukee Art Museum, which overlooks Lake Michigan, was partially housed in a building designed in 1957 by Eero Saarinen as a war memorial. Santiago Calatrava proposed a pavilion-like construction conceived as an independent entity. The white steel-and-concrete form is reminiscent of a ship and contrasts the existing ensemble in both geometry and materials. Being linked directly to Wisconsin Avenue via a cable-stay footbridge, pedestrians may cross busy Lincoln Memorial Drive on the bridge and continue into the pavilion.

The pavilion features a spectacular kinetic structure, a brise-soleil with louvers that open and close like the wings of a great bird. When open the shape also becomes a sign, set against the backdrop of the lake, to herald the inauguration of new exhibitions. The pivot line for the slats is based on the axis of a linear mast, inclined at 47 degrees, as a parallel to the adjacent bridge mast.

https://www.youtube.com/watch?v=eGQJPkQL0fU

APPROPRIATION

Sherrie Levine, Fountain (Madonna),

Appropriation: or use of “readymade” images or art objects allows for the examination of the meaning of those objects or forms. Used largely by the “Pictures Generation” artists.

Marcel Duchamp, Fountain, 1963 replica

of 1917 original.

“Readymade”: an everyday object used as art.

Marcel Duchamp

Dada: anti-modernism

Appropriation art challenges traditional ideas about authenticity, individuality, copyright laws, and the location of meaning within a work of art. Levine’s urinal is taken directly from Duchamp’s ready-mades, though he did not cast his urinal in bronze, but used an existing, ordinary porcelain urinal. Levine’s fountain is a precious presentation of the work from the previous master.

Appropriation has been likened to the similar trend in music—samples or remixes.

Levine found a source in the examples of 20th-century art, appropriating verbatim from such modernist luminaries as Walker Evans, Willem de Kooning, Piet Mondrian, and Edward Weston. Feminist critics have interpreted the performative nature of Levine’s work, in which she assumes the identity of an artistic predecessor, as a subversive intervention in the rigid (and overwhelmingly male) construction of art history.

Appropriation

Black Newborn, Sherrie Levine, 1994

Appropriation

Black Newborn, Sherrie Levine, 1994

Appropriation

Sherrie LevineWhite Knot: 11986, Casein on wood: 31 1/8 x 25 3/16 x 1 1/4 inches (79.1 x 64 x 3.2 cm)

Appropriation

Man Ray, La Fortune, 1938

Levine takes Man Ray’s billiard table out of it’s surrealist landscape and makes it a “real” object.

Sherrie Levine, “La Fortune” (After Man Ray: 4), 1990

Appropriation

Jean Baudrillard (1929-2007)Postmodern French theorist and author

Simulacrum: A copy that modifies the experience of the original.

Parts of Disneyland are based on America, but compared to Disneyland, Los Angeles looks more real.

Postmodernism

“I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows that he cannot say to her "I love you madly", because he knows that she knows (and that she knows he knows) that these words have already been written by Barbara Cartland [a novelist].

Still there is a solution. He can say "As Barbara Cartland would put it, I love you madly". At this point, having avoided false innocence, having said clearly it is no longer possible to talk innocently, he will nevertheless say what he wanted to say to the woman: that he loves her in an age of lost innocence.”

-author Umberto Eco

Appropriation

Untitled (Cowboy) (1989) Richard Prince

Appropriation

Richard PrinceUntitled (cowboy), 1980-84

Appropriation

Richard Prince, Cowboy, color photograph, 1991-92

Appropriation

Art critic of the time Douglas Crimp wrote in 1977 of the appropriation artists of the “Pictures Generation” that,

“They are not in search of sources of origins, but of structures of signification: underneath each picture there is always another picture.”

Artworks in this case were “signs” pointing to other meanings, mostly stereotypes. Whether of gender, race or class.

Appropriation

. Photographic silkscreen, vinyl lettering on plexiglass, 109" x 210". © Barbara Kruger. Barbara Kruger, Untitled (We don't need another hero), 1987

Feminist Art in the 80’s

Third-wave feminist art emerged in the 1990s. This latest generation of artists has addressed a plethora of other issues that discriminate against or denigrate women, including such hybrid ones as gender and class, gender and race, violence against women, postcolonialism, transgenderism, transnationalism, and eco-feminism.

Third-wave feminist art explores the many strategies that women employ to navigate life.

In photograph-based images Barbara Kruger examines the representation of power via mass-media images, appropriating their iconography and slogans and deconstructing them visually and verbally.

Untitled (You Invest in the Divinity of the Masterpiece) Barbara Kruger , 1982.

• Makes political artwork criticizing social structures that exclude women.

• Works for change “on the ground” by using graphic design, products, media and public spaces.

• Attacks feminine stereotypes.

Untitled (Your Body is a Battleground)Barbara Kruger1989Photographic silkscreen on vinyl112 x 112 in.

Barbara Kruger, Untitled (We Will No Longer Be Seen and Not Heard), 1985

Guerrilla Girls, "Do women have to be naked to get into the Met. Museum? Less than 5% of the artists in the Modern Art sections are

women, but 85% of the nudes are female", 1989

The Guerrilla Girls came into being in 1985, shortly after the opening of a huge exhibition at New York’s Museum of Modern Art. The show, titled “International Survey of Contemporary Painting and Sculpture,” included works by 169 artists, fewer than 10 percent of whom were women.

The Guerrilla Girls lecturing.

Jenny Holzer

Abuse of Power Comes as No Surprise

Photograph

Jenny Holzer, Survival, Times Square, New York (197-?)

Jenny Holzer, Survival, Times Square, New York (1986)

Jenny HolzerLiving: More than once I've wakened with tears...1980-82, Bronze, 7 5/8 x 10 1/8" (19.4 x 25.7 cm)

Jenny HolzerLiving: Some days you wake and immediately...1980-82

Installation view of Jenny Holzer: PROTECT PROTECT (Whitney Museum of American Art, New York, March 12–May 31, 2009). Photograph by Bill Orcutt

Untitled Film Still #7, Cindy Sherman (American, born 1954), 1978

The “Untitled Film Stills” series by Cindy Sherman (b. 1954) exemplifies Postmodern strategies of looking. These photographs eerily resemble authentic still photographs from early 1960s films; but all are in fact contemporary photographs of Sherman herself.

Untitled Film Still #13 Cindy Sherman (American, born 1954)1978.

Cindy Sherman Untitled Film Still #21 1978, Gelatin silver print

In UNTITLED FILM STILL #21 for instance, Cindy Sherman appears as a small-town girl who has moved to the big city to find work. Other photographs from the series show her variously as a Southern belle, a hardworking housewife, and a teenager waiting by the phone for a call. Critics have discussed these images in terms of second-wave feminism, as questioning the culturally constructed roles played by women in society, and as a critique of the male gaze. In these photographs, Sherman is both the photographer and the photographed. By assuming both roles, she complicates the relationship between the person looking and the person being looked at, and she subverts the way in which photographs of women communicate stereotypes.

Cindy Sherman Untitled Film Still #21 1978, Gelatin silver print

Untitled Film Still #58, Cindy Sherman (American, born 1954), 1980

Cindy Sherman, Untitled #123. 1983.Untitled #153, Cindy Sherman (American, born 1954), 1985.

Pierre Huyghe"No Ghost Just a Shell" (collaboration with Philippe Parreno), 1999-2003"Annlee," original image, 1999© Pierre Huyghe, courtesy Marian Goodman Gallery, Paris/New York.

"’For ‘No Ghost Just a Shell’, Philippe Parreno and I bought the copyright of a manga character. We can call it a sign. Normally this kind of sign is bought to make little advertising cartoons. It’s a platform for a narrative, advertising things."

- Pierre Huyghe

Appropriation

https://www.youtube.com/watch?v=J3E8ioPg8xQ

http://ubu.com/film/parreno_anywhere.html

Appropriation

Pierre Huyghe"No Ghost Just a Shell" (collaboration with Philippe Parreno), 1999-2003"One Million Kingdoms," video still, 2001. DigiBeta video, 6 minutes, color, sound. Co-production of Anna Sanders Films and Antéfilms. Photo by Laurent Lecat. © Pierre Huyghe, courtesy Marian Goodman Gallery, Paris/New York.

Appropriation

Early experiments in video centered on figuring out the characteristics of the medium, both of video itself and also of television.

Genre’s of video art1. Video about the medium of video.2. Video about performance.3. Video as physical material.4. Video as a comment on television / film.

Video Art

By 1960 90% of American homes had a television. It had become the dominant and definitive medium of mass culture.

Carlota Fay SchoolmanRichard Serra 1973, "Television Delivers People"

Video Art

***For video see Video Art subfolder.***

Produced in 1973, "Television Delivers People" is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through "entertainments," for the benefit of those in power-the corporations that maintain and profit from the status quo. Television emerges as little more than a insidious sponsor for the corporate engines of the world.

Boomerang (1974), Richard

Serra and Nancy Holt

Video Art

Boomerang (1974), Serra taped Nancy Holt as she talks and hears her words played back to her after they have been delayed electronically. Originally broadcast over Amarillo, TX public television.

Left Side Right SideJoan Jonas1972videotape :single-channel video, black-and-white, with sound, 2:50 min.

Video Art

Creating a series of inversions, Joan Jonas splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors).

Joan Jonas: Vertical Roll, video still, 19:38 minutes, 1972 (Whitney Museum of American Art, New York); image courtesy of Electronic Arts Intermix (EIA), New York

Video Art

Marshall McLuhan (1911-1981): Canadian Communications Theorist

''the medium is the message”

''Most people are alive in an earlier time, but you must be alive in our own time,'' Mr. McLuhan strove to understand and explain the electronic media, which he believed were shaping people in ways they hardly suspected.

Two major books:''The Gutenberg Galaxy'' ''Understanding Media: The Extensions of Man''

Video Art

For McLuhan the way we acquire information affects us more than the information itself.

Media: Are seen as extensions of human needs / senses.

Examples:The foot > the wheel.The eye > the book.The skin > clothing.The nervous system > the “electronic media”.

Video Art

The Global Village...A non-spatial communal existence.

Video Art

Video about Performance

Vito Acconci / Following Piece, 1969

Performance artists were among the first to use video. They immediately saw that it could record and preserve their artworks as they unfolded …. in time.

Performance Art: Descriptive term applied to ‘live’ presentations by artists. From the early 1960s in the USA to refer to the live events taking place at that time, such as Happenings, or body art.

Vito Acconci

http://www.ubu.com/film/acconci_pryings.html

Pryings 21 minutes, 1971

Performance Art

Vito AcconciTheme Song 33 minutes, 1973

Performance Art

Guy Ben-NerBerkeley’s Island1999

http://ubu.com/film/ben-ner_berkeley.html

Performance Art

https://www.youtube.com/watch?v=-md_AeTjVk0GUY BEN NER Stealing Beauty 2007 single channel video running time: 17:40 minutes

Performance Art

Walk this Way (Clip)--2008Kate Gilmore

Performance Art

Kate Gilmore, Sudden as a Massacre (Clip)--2011

Video as physical material

Zen for TVNam June Paik (American, born Korea. 1932–2006)1963 (executed 1975/1981). Altered television set, overall (original television):

Video Art

Still other artists chose to work with the medium of video through it’s physical presentation as electronics and electronic signals.

Nam Jun Paik in particular was interested in the distortion of the televised image.

Moon is the Oldest TV Nam June Paik1965

Video Art

Nam June Paik, Magnet TV, 1965. 17-inch black-and-white television set with magnet, 28 3/8 × 19 1/4 × 24 1/2 in. (72.1 × 48.9 × 62.2 cm) overall.

Video Art

Nam June Paik , TV Buddha (1974) Closed Circuit video installation with

bronze sculpture

Video Art

Installation view of Projects: Nam Jun PaikMOMA, 1977

Video Art

Electronic FablesNam June Paik (American, born Korea. 1932–2006) and Jud Yalkut (American, born 1938)1965-1971/1992. Video (color, sound)

Video Art

Peter CampusThree transitions 1973Exhibited at Paula Cooper Gallery, Summer 1997color, sound, 4:53 minutes

Cory Arcangelhttp://www.youtube.com/watch?v=nuXz-uVnIkw

Glitch art: The aestheticization of digital or analog errors, such as artifacts and other "bugs", by either corrupting digital code/data or by physically manipulating electronic devices (for example by circuit bending).

Video Art

Cory ArcangelClouds, 2002

http://www.ubu.com/film/arcangel_f2.html

Video Art

Cory ArcangelDuration: 2:46 f2 (2005)

Takeshi Murata, Silverhttp://www.ubu.com/film/murata_silver.html

Video Art

Video as a comment on television / film.

Technology/Transformation: Wonder Woman - by Dara Birnbaum (1978)

Other artists used video to reflect on the messaging and stereotypes being put out in the kinds of television and movies that were in the mass media. Similar to Appropriation artists they wanted to get to the meaning of the stories and look “behind the scenes”.

Video Art

24 Hour Psycho by Douglas Gordan 1993, 35mm film projection/installation.

https://www.youtube.com/watch?v=UtLg5TqqVeA

Paul Pfeiffer, Fragment of a Crucifixion (After Francis Bacon), 1999

Video Art

https://www.youtube.com/watch?v=JHE77hD6GBM

IDENTITY

Identity Politics: Following the example of Feminism and the pluralism of Postmodernism, artists began to reflect on the ways in which they “performed” identity.

1). Culturally specific ways of making art were explored and celebrated.

2). Old pictures of oppression were criticized.

Prominent Groups: African and Latino Americans, LGBTQ movement.

The “representation of politics” and the “politics of representation”.

Kerry James Marshall, (American, born 1955) Many Mansions, 1994

Identity Art

MANY MANSIONS by African- American painter Kerry James Marshall (b. 1955) refers to Stateway Gardens, Chicago, one of the largest housing projects in America. The inadequate conditions were the subject of much debate prior to its demolition in 2007. Marshall shows an idyllic setting of three African-American men, who are too well dressed for gardening, to create an tidy garden that includes manicured topiary in the background and flowerbeds in the foreground. The painting includes a number of details, including the statement “In my mother’s house there are many mansions,” which both changes the gender of the biblical quotation (John 14:2).

Two cute cartoon bluebirds with a baby-blue ribbon fly into the scene like the birds that bring the fairy godmother’s gifts to Cinderella in rags in the Disney film, while two Easter baskets neatly wrapped in plastic sit in the garden.The artist takes a swipe at the fact that the condition of the projects was studied and then ignored by the authorities by labeling his own picture “IL2-22” (“Illustration 2-22”) in the upper right

Identity Art

KERRY JAMES MARSHALL, Scout Master, 1996, acrylic on paper on wood, 41 x 40 inches image size, 43 3/8 x 42 1/4 x 2 3/8 inches framed,

Kerry James Marshall, "Better Homes Better Gardens", 1994

Identity Art

Kerry James Marshall makes formally rigorous paintings, whose central protagonists are always, in his words, “unequivocally, emphatically black.”

As he describes, his work is rooted in his life experience: “You can’t be born in Birmingham, Alabama, in 1955 and grow up in South Central [Los Angeles] near the Black Panthers headquarters, and not feel like you’ve got some kind of social responsibility. You can’t move to Watts in 1963 and not speak about it.”

Marshall’s erudite knowledge of art history and black folk art structures his compositions; he mines black culture and stereotypes for his unflinching subject matter.

Identity Art

Kerry James Marshall, Souvenir IV, 1998

Identity Art

Kerry James Marshall, Souvenir I, 1998

Identity Art

Kerry James Marshall, Untitled (Painter), 2010

Identity Art

KERRY JAMES MARSHALL, Untitled, 2009, acrylic on pvc, 61 1/8 x 72 7/8 x 3 7/8 inches,

KERRY JAMES MARSHALL, Untitled (Lovers), 2015, acrylic on PVC panel, 60 x 48 x 3 inches (152.4 x 121.9 x 7.6 cm),

Carrie Mae Weems, Untitled (Woman playing solitaire) (from Kitchen Table Series), 1990. Gelatin silver print, 27 1/4 x 27 1/4 in.

Carrie Mae Weems has documented the African American experience weaving together jokes, music and storytelling with photographic imagery. Much of her work involves adapting her own photographs and historical images of African Americans by adding text evoking themes of family relationships, gender roles and the histories of racism, sexism, and class.

Carrie Mae Weems’s acclaimed Kitchen Table Series (1990) speaks. In a 2011 interview with Art21, Weems described the series as a response to her own “sense of what needed to happen, what needed to be, and what would not be simply a voice for African American women, but would be a voice more generally for women.”

Identity Art

Carrie Mae Weems, Untitled (Woman and daughter with makeup) (from Kitchen Table Series), 1990. Gelatin silver print, 27 1/4 x 27 1/4 inches (69.2 x 69.2 cm).

Carrie Mae Weems, Untitled (Man and Mirror), 1990Gelatin silver print, from the "Kitchen Table Series”, 36.5 x 36.5 cm

Carrie Mae Weems,,Josephine Baker from Slow Fade to Black II, 2010–11

Identity Art

Carrie Mae Weems,,Josephine Baker from Slow Fade to Black II, 2010–11

Carrie Mae Weems,Katherine Dunham from Slow Fade to Black II, 2010–11

Identity Art

David HammonsAfrican-American Flag1990

Identity Art

David Hammon, American installation artist, performance artist and sculptor. African–American Flag is typical work in dealing with a contemporary racial issue. These served as a prelude to the found-object sculptures he began to make in the late 1970s from cheap and discarded items such as elephant dung, hair, chicken bones, bottles and bags.

David Hammons, Bliz-aard Ball Sale, 1983

David Hammons, Untitled (Night Train), 1989

Identity Art

Hammons, DavidIn the Hood, 1993

Identity Art

Hammons, DavidHigher Goals, outdoor sculpture; found objects. 1988

Identity Art

Higher Goals (1986), erected in Cadman Plaza, Brooklyn, NY, was one of his many public commissions; the project involved turning enormous telegraph poles into basketball hoops and decorating them with abstract patterns made from bottle caps.

Hammons, DavidHigher Goals, outdoor sculpture; found objects. 1988

AIDS Coalition to Unleash Power (ACT UP) is an international direct action advocacy group working to impact the lives of people with AIDS (PWAs) and the AIDS pandemic to bring about legislation, medical research and treatment and policies to ultimately bring an end to the disease by mitigating loss of health and lives.

Identity Art

Public Library

Through the late 80’s and 90’s ACT-UP held demonstrations around the USA, from Wall Street, the FDA, the NYSE, and major television outlets.

Members of ACT UP Chicago with the sign Kissing does not kill , Gay Pride in Chicago , June 24, 1990 , © The New York Public Library

Untitled" (Monument), 1989Print on paper, endless copies20 in. at ideal height x 29 x 23 in. (original paper size)

Identity Art

Untitled" (Monument), 1989Print on paper, endless copies20 in. at ideal height x 29 x 23 in. (original paper size)

Identity Art

Felix Gonzales-Torres was an American sculptor and photographer of Cuban birth. In 1987 he joined Group Material, a New York-based group of artists adhering to principles of cultural activism and community education. His own engagement as a gay man with socio-political issues centered around the interaction of public and private spheres.

His stacked-paper work consists of two stacks of sheets printed with the bracketed words of the titles, neatly piled to resemble Minimalist floor sculptures. By inviting gallery visitors to take the sheets, Gonzalez-Torres undermines Minimalist principles of social and aesthetic autonomy, suggesting that the artwork is completed by the viewers’ physical interaction with (and consumption of) the work.

This strategy also criticizes the ways in which ideas are propagated through an art practice; by offering a work that depends on the projection and contemplation by its audience.

Identity Art

Felix Gonzalez-Torres, ”Untitled"1991, Billboard

Identity Art

“Untitled”, 1989BillboardOverall dimensions vary with installation

Location: Sheridan Square, New York. Mar. – Sept. 1989. Sponsored by the Public Art Fund.

Felix Gonzalez-Torres"Untitled" (Perfect Lovers), 1991Clocks, paint on wall

Identity Art

Although made shortly after the death of his partner, Ross Laycock, “Untitled” (Perfect Lovers) was characteristically open to interpretation. His ability to create sensual metaphor for private life in public, in which two synchronized clocks, of the type to be found in offices and public spaces, are displayed side by side; the implicit romanticism is tempered by the inevitable fact of one stopping before the other.

In 1993 a died from AIDS-related causes.

Felix Gonzalez-Torres"Untitled" (Perfect Lovers), 1991Clocks, paint on wall

Identity Art

Felix Gonzalez-Torres"Untitled" (USA Today), 1990, Candies, individually wrapped in red, silver, and blue cellophane (endless supply), Ideal weight: 300 lbs (136 kg)

Identity Art

Felix Gonzalez-Torres"Untitled" (Toronto), 1992Light bulbs, extension cord, and porcelain light sockets

GLOBALISM

Takashi Murakami, Ian Tan Bo Puking, 2002

Global art

Postmodernism, pluralism and globalization have allowed artists to bind nations and cultures of the world together, giving rise to an international network in which art from many points of origin circulates and becomes known.

Contemporary artists are incorporating their traditional folk arts, without fully assimilating into Western Art (history). Creates a “hybrid” approach.

Begun in the 1600‘s in Japan, Ukiyo-e was initially considered "low" art for distribution due to it’s reproducible nature as woodblock prints.

Global art

Trained in traditional nihon-ga painting, Takashi Murakami’s work has been described as a successful combination of Western with Japanese techniques, and the traditional with the contemporary. He also popularized the term ‘Superflat’, a word used to describe the two-dimensional and flat quality of culture in contemporary Japan

TAKASHI MURAKAMI "Splash Nude" 2001 Acrylic on canvas / Acrylique sur toile 35 1/2 x 47 1/4 inches / 90 x 120 cm

Global art

Takashi Murakami, The Castle of Tin Tin, 1998,

Global art

TAKASHI MURAKAMI"Tan Tan Bo" 2001 Acrylic on canvas mounted on board 11.9 feet x 17.8 feet x 2 1/2 inches (3 panels, / 360 x 540 x 6,7 cm

Global art

Murakami’s view of art as entertainment and commerce coupled with his entrepreneurial spirit led to the establishment of Hiropon Factory in 1996, which eventually became Kaikai Kiki Co. in 2001. Partly inspired by Andy Warhol’s Factory and Damien Hirst’s masterful self-branding, Murakami’s company assists in the production of his artworks and handles all the merchandising. Kaikai Kiki Co.

Murakami and merchandise.

Murakami collaboration with French fashion house Louis Vuitton

Murakami in Versailles

The sculpture Flower Matango by Japanese artist Takashi Murakami is displayed at Versailles Palace. Murakami, who was born in Tokyo in 1962, will display his sculptures and paintings in 15 rooms in the palace's Hall of Mirrors and the apartments of the King and the Queen

Visitors gather around a sculpture by Japanese artist Takashi Murakami entitled Tongari-Kun (Mr Pointy), at the Versailles Palace

The sculpture by Japanese artist Takashi Murakami is displayed at the Château de Versailles

The Oval Buddha Silver (2008) in the Hercules Salon of Versailles Palace

Global art

Oval Buddha by Takashi Murakami is displayed in the Versailles Palace gardens

Global art

Kiki,Takashi Murakami is displayed at the Palace of Versailles

Global art

Ai WeiweiStudy of Perspective - Tiananmen Square1995-2003

Ai Wei Wei is a cultural figure of international renown, he is an activist, architect, curator, filmmaker, and China’s most famous artist. Open in his criticism of the Chinese government, Ai was famously detained for months in 2011, then released to house arrest. “I don’t see myself as a dissident artist,” he says. “I see them as a dissident government!” Some of Ai’s best known works are installations, often tending towards the conceptual and sparking dialogue between the contemporary world and traditional Chinese modes of thought and production.

His infamous Coca Cola Vase (1994) is a Han Dynasty urn emblazoned with the ubiquitous soft-drink logo. Ai also served as artistic consultant on the design of the “Bird’s Nest” stadium for Beijing’s 2008 Olympics, and has curated pavilions and museum exhibitions around the globe.

Global art

Ai Wei WeiCoca Cola Vase, 1997* Vase from the Tang dynasty (618-907)

Global art

Urns of this vintage are usually cherished for their anthropological importance. By employing them as readymades, Ai strips them of their aura of preciousness only to reapply it according to a different system of valuation.

Ai Wei Wei, Painted Vases, 2009

Global art

Ai Wei Wei, Map of China, 2004* Tieli wood from dismantled temples of the Qing dynasty (1644-1911)

Global art

Ai Wei Wei, Forever, 2003

Global art

Ai Wei Wei, Snake Ceiling, 2009 backpacks

Global art

Ai Wei Wei, Fountain of Light, 2007

Global art

Ai WeiweiSunflower Seeds 2010

For Sunflower Seeds (2010) at the Tate Modern, he scattered 100 million porcelain “seeds” handpainted by 1,600 Chinese artisans—a commentary on mass consumption and the loss of individuality.

On October 23, Ai posted on Instagram: “In September LEGO refused Ai Weiwei Studio's request for a bulk order of LEGOs to create artwork to be shown at the National Gallery of Victoria as they 'cannot approve the use of LEGOs for political works’.” Ai’s post triggered a flood of responses on social media criticizing LEGO for "censorship and discrimination.” Thousands of anonymous supporters offered to donate their used LEGOs to Ai. #legosforweiwei

Ai Weiwei (@aiww) | Twitter

Danh Vo, We the People, Copper 2012, Kunsthalle Fridericianum

Global art

Danh Vō’s conceptual works explore themes of appropriation and fragmentation, incorporating his experience as a Vietnamese-born Danish citizen and consistently using his own life as material.

Vō’s We the People (2011) is a scrupulous replica of fragments of the Statue of Liberty for which the artist took pains to ensure the same copper hammering technique. The resulting hollow pieces were exhibited spread out on the floor of a gallery space, highlighting the unexpected fragility of the original statue, visible in the thinness of its material.

Global art

Danh Vo, We the People, Copper 2012, Kunsthalle Fridericianum

El Anatsui, City Plot, 2010, aluminum liquor bottle caps and copper wire, 184 x 140 inches,

Global art

El Anatsui began his tenure as a professor of art at the University of Nsukka, Nigeria. Meticulously assembled from discarded aluminum often sourced from liquor bottles, the recycled materials coalesce in exquisite constellations that track postcolonial exchange and global abstract traditions.

Stressed World, 2011 is a quintessential example: delicate yet monumental. Hovering between sculpture and painting, the metal constructions defy categorization and have solidified Anatsui’s status as a groundbreaking visual artist of international critical acclaim.

Global art

El Anatsui, Ink Splash, 2010, aluminum and copper, 124 x 149 5/8 inches

Global art

Installation View Gravity and Grace: Monumental Works by El Anatsui Brooklyn Museum, New York, February 8–August 4, 2013

Black Block, 2010, aluminum and copper wire, 207 1/2 x 135 7/8 inches,

Global art

Post Colonialism: Popularized in the 1980s, the term refers to investigations into the cultural situation of nations who have formerly been subject to colonial control, predominantly at the hands of European nations. A culture's aesthetics must be seen both as a tool used in furthering its specific agenda and as a product of its own political past.

the “Other”: the imaginary oppositional subjects whose invention supports the definition of the self.

Key Figures: Frantz Fanon, Edward W. Said, Homi K. Bhabha.

Global art

YINKA SHONIBARE, MBE How to Blow up Two Heads at Once (Ladies), 2006 Two mannequins, two guns, Dutch, wax printed cotton textile, shoes, leather riding boots, plinth 93 1/2 X 63 X 48 inches

Global art

YINKA SHONIBARE, MBE The Age of Enlightenment - Adam Smith,

2008 Life-size fiberglass mannequin, Dutch wax printed cotton, mixed

media Figure: 70 X 43 1/2 X 33 1/2 inches Plinth: 4' 11" X 5' 7" X 5"

Global art

YINKA SHONIBARE, MBE The Sleep of Reason Produces

Monsters (Africa), 2008 C-print mounted on aluminum Image size: 72 X 49.5 inches Framed: 81.5 x

58 x 2.5 inches Edition of 5

Global art

YINKA SHONIBARE, MBE Wanderer, 2006 Wood, Plexiglas, fabric, brass 67 3/4 X 48 X 17 1/4 inches Edition of 8

Global art

RELATIONAL AESTHETICS

Rirkrit Tiravanija, Pad Thai, 1991-'96

Relational Aesthetics: French critic and philosopher Nicolas Bourriaud adopted the term in the mid-1990s to refer to the approach of socially conscious art of participation: an art that takes as its content the human relations elicited by the artwork.

The relational art of the 1990s and 2000s is a continuation of traditions of participatory art (such as the arts of the 1950s and 1960s, Happenings, and Conceptual Art).

Carsten Holler, Test Site 2006.

Relational Aesthetics

Carsten Holler, Singing Canaries Mobile), 2009

Rirkrit Tiravanija Untitled, 2002

All art is potentially participatory, if viewers are willing to engage with the work. However, in Bourriaud’s formulation, not all participatory art is relational. A relational work, for Bourriaud, does not aim at a critique of the art institution or an expansion of the definition of art, but rather focuses on the social interactions sparked by the art exhibition.

For example, in Untitled 1992 (Free) of 1992–2007, first presented at 303 Gallery in New York, Rirkrit Tiravanija moved what he found in the office and storage room into the exhibition space, reversing the relationship between public and private; he invited the director and his assistants to work there, and then cooked Thai curry in the office for everybody in attendance.

Rirkrit Tiravanija: Untitled 1992 (Free), installation view, David Zwirner Gallery, New York, 2007; image courtesy of David Zwirner Gallery, New York

Rirkrit Tiravanija Untitled (Studio rehearsal, silent version), Installation View Spiral Gallery, Tokyo, 1996

“Art is important when artists exercise their freedom to ask the biggest questions about us, our society, our past, present and future.”

- author Rebecca Solnit

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