JENN

Y HO

LZER

1950 -

Prese

nt

Jenny Holzer, originally

trained in the art of painting

and printmaking from Ohio

University in 1972, is most

recently known for her large

scale text pieces.

These text pieces are for-

mally called “Truisms,” which

are often times common

myths or phrases on certain

subjects in the form of slo-

gans. Her use of large scale

text takes the form of many

mediums; t-shirts, projec-

tions, LED displays, etc.

The use of these large

scale, simple and clear texts

adds impact to her often

times crpytic phrases.

[x]

xenon on berlin’s matthäikirche, 2001

“I need to lie back to front with someone who adores me.”

‘blu lt’, 2004

“Time battering the surface of the Earth?”

THESIXTYTWENTY-FOURTWELVETEN

SPEED TYPE ARTISTS PROJECT

1 artist who works with type (60 pt)1 set of dates (24 pt)1 blurb about the artist (12 pt)2 images of the work with captions (10 pt)1 font family (Helvetica or Arial) 1 format (5.5 x 8.5 inches, landscape)1.4 hours working time

RULES

THE

Brianna Adams:::Kurt SchwitterSKim Chua:::AlexAnder rodchenKo

Tiffany Chung:::chArleS demuthStephanie Collins:::rene mAgritte

Jansen Cudal:::hAnnAh hochKristin Eliazo:::John heArtfield

Richell Jimenez:::robert indiAnAJennie Lee:::ed ruShchA

Brian Pelayo:::roy lichtenSteinKarina Rabara:::rAymond Pettibon

Rohmel Reynoso:::John bAldeSSAriMan Hay Martha Siu:::cy twombly

Stephen Takahashi:::JoSePh KoSuthHeng Ung:::bruce nAumAn

Michelle Urenda:::tim rollinS And KoSVladimir Villanueva:::the guerrillA girlS

Andrew Wong:::Jenny holzer

LICHTENSTEIN

(19

23

- 1

99

7)

Lichtenstein evidently relishes the element of certainty, the knowing ‘exactly what it’s going to look like’. And the pictures themselves, hard and precise and cool, look as if they were about certainty.

But they aren’t about certainty - rather the opposite - and it’s largely the interplay in them between certainty and uncertainty that makes them go on as they do being surprising though they have the look of an art that is not going to sustain its impact.

BLAM

, 196

2

ART, 1962

ROY

Joseph Kosuth(1945- )

Titled (Art as Idea as Idea)

One and Eight - A Description

born in Toledo, Ohio. pioneer in the field of conceptual art. exhibited, published, commis-sioned throughout Europe, United States, and Asia. production and role of language and meaning. language possesses meaning only in relationship to itself. situ-ationist. conceptual meaning is based on past definitions. art is linguistic in character.

Raymond Pett ibon(1957 - )

Born in 1957 in Tucson Arizona, lives and works outside of Los Angeles.He was an unofficial in-house artist for the punk music scene of the late 1970s and early 1980s.While his style initially relied on the conventions of cartoon illustration, over the years, Pettibon has developed an entirely personal approach marked by a uniquely sophisticated relationship between image and text.B.A. UCLA, Los Angeles, CA 19772004 Recipient of Bucksbaum Award

The text in this piece, as with all Pettibon’s pieces with text, adds meaning to the visual image, provid-ing additional context in which to view the image.

The text itself is handwritten and entirely uppercase. The text is remi-nescent of cartoon captions, without a text-bubble outline. The caption is nec-essary to create the intended meaning of the image.

The text in this piece is handwritten in uppercase letters. The title “Sonic Youth LP” is especially indicative of a handwritten style

because it squeezes uncomfortably into

the small space designated for the album’s title. The

caption of the visual image, also hand-

written, in capital letters, provides

additional context for the visual image, as a cartoon caption

would function.

B r u c e N a u m a n“If I was an artist and I was in the studio, then whatever I was doing must be art. At this point art became more about an activity and less of a product.”

[1941- ]

“The true artist helps the world by revealing mystic truths”, 1967

“One hundred live and die”, 1984

Bruce Nauman demonstrates the alternatively political, prosa-ic, spiritual, and crass methods by which life is examined in all its gory details, mapping the hu-man arc between life and death.

1891-1968

“Millions Stand Behind Me”

“Hurrah! The Butter is All Gone!”

Heartfield was a German photomontage artist. He was born Helmut Herzfeld, but chose to call himself Heartfield to criticize the nationalism & anti-British sentiment in Germany during World War I. He began in the Berlin Dada scene and produced many

of the early designs for Dada posters and manifestos. He is best known and revered for his devotion to anti-Nazi political activism.

His works utilize famous quotes of leading Nazi’s, subtly undermining the intended message by using ingenious visual puns.

GUERILLA GIRLS

Group of anonymous female activists.Their purpose: to show that there are

a lot of women artists that remain unrecognized in the art world, fighting

for both gender and racial equality. Started as a group of 4, now consist-ing of nearly 100 women all around

the world.1985 - NOW

CONSCIENCE OF THE ART WORLD

Do Women have to be Naked to get into the Met. Museum?-1985

Where are the women artists of Venice?-2005

Tim Rollins&Kids of Survival

1982 - current

“The Scarlet LetterRevelation”, 1994Watercolor/graphite on book page on linen

“America IX”watercolor/acrylic/graphite on book pages on linen

Tim Rollins was born in Maine and graduated from the University of Maine, continuing on to the New York City School of Visual Arts and the New York University School of Art Education. He is a conceptual artist turned teacher who began working with “learning disabled” students in the South Bronx (New York) in the early 80s. The students that originally attended the after school and weekend “Art and Knowledge” workshop that he offered eventually named themselves KOS, or Kids of Survival. Rollins and KOS use art as a way of interpreting and understanding literature of all types, from comics to philosophy, through a context not generally used: that of underprivileged inner-city children.

The students work collaboratively, deciding as a group how the work should be done and what imagery they should use. Much of their work is done by transposing their imagery onto the text itself by mounting pages torn from the books onto canvas and working over them. This physically shows how their experiences and methods of interpretation affect the written works. This image-over-text relationship is prevalent in the majority of KOS’ work.

Charles DemuthNovember 9, 1883

October 23, 1935

Among the rainand lights

I saw the figure 5in gold

on a redfiretruckmovingtense

unheededto gong clangs

siren howlsand wheels rumblingthrough the dark city.

Inspired by William Carlos Williams poem

“The Great Figure”Avante Garde Artist.A discreet gay.Used his sexual orientation to make art.Could not place his sexuality in the open.

ROBERTIND

IAN

Alate 1950s - mid 1960s

Robert Indiana was born in 1928 in New Castle, Indiana

as Robert Clark.

He became known for silkscreen prints, posters &

sculptures, which took the word

LOVE as their theme.

He did sculpture assemblages

& developed his style of vivid

color surfaces involving letters, words & numbers.

He was part of the POP ART movement

His earlier works were inspired by traffic signs, automatic

amusement machines, commercial stencials & old trade

names.

Robert IndianaLOVE

ROBERT INDIANA Numbers

Alexander

Rodchenko

1891-1956A Russian sculptor, pho-tographer, painter, and designer, Rodchenko was a part of the constructiv-

1923. Poster for Dziga Vertov’s One-Sixth Part of the World

1926. Poster for Sergei Eisenstein’s Battleship Potemkin

ist movement. Constructivist artists held that art should have a social purpose. In the 1920s, he joined the Productivist group, which was founded by Constructivist artists who believed that art should be practical and socially useful.

The lettering he used was bold, geometric, and low contrast. His graphic design images draw atten-tion with dynamic, diagonal compo-sition and bold colors and text.

Rene Magritte

This is not an apple. This is not a pipe.

Magritte’s style has been described as playful and contradictory, in its habit oftaking realistically rendered objects and questioning their “realness” by the use oflines of text on the canvas. Examples of this include This Is Not A Pipe, This Is NotAn Apple, and The Empty Mask. The text, which is written in French, is cursive ineach of these paintings, though there is a varying amount of thickness betweenstyles.

ED RUSCHA

He was born in Nebraska.

During the early 1960’s, he became well known for printmaking, collages, and paintings.

He, influenced by pop art, later achieved recognition for his paintings incorporating words and phrases.

He published photographic books including Twenty-six Gasoline Stations and Every Building

The Mountain, 1998

Not a Bad World, Is It? 1984(1937-Present)

Kurt

1887-1948

SchwittersMZ 30, 21

Untitled

Kurt Schwitter was born in Prussia; he moved to Norway when hs art was labeled “degenerate” by the Nazis. He later fled to England and stayed there for the rest of his life. Schwitter was indirectly a part of the Dada movement--his work was largely based on Dada ideals. He called his work “Merz” and created a magazine by that title. Schwitter worked with collage, photomontage, and typography. He created objects out of found materials which would today be consid-ered installations. He created ten rules for typography

and utilized these rules in much of his work.

1960’s - 2005

In this piece (1960’s), Baldessari uses a format that is familiar to many people during their childhood as a punishment for bad behavior. However, here it is more of a gesture as he merely simulates the act of punishing himself for having created boring art. It allows him to express his desire to create interesting or provocative artwork.

Baldessari’s early major works were canvas paintings that were empty but for painted statements derived from contemporary art theory. An early attempt of Baldessari’s included the hand-painted phrase “Suppose it is true after all? WHAT THEN?” on a heavily worked painted surface. Baldessari decided the solution was to remove his own hand from the construction of the image and to employ a commercial, lifeless style so that the text would impact the viewer without distractions. The words were then physically lettered by sign painters, in an unornamented black font. The seemingly legitimate art concerns was intended by Baldessari to become hollow and ridiculous when present-ed in such a purely self-referential manner.

John Baldessari

“Magnetic” is from the series Prima Facie (2005), in which Baldessari uses a didactic format to illustrate his subjects. He uses an image of a character from the media, crops the image, and places a word in a frame of equal size to the right of the image. The word is his “first impression” of the image, but may not be at all related to the character’s actual expression. In doing so, he creates a piece of association/dissociation between word-captions and images.

RR

1928

-

1947 -1949 studied at the School of the Museum of Fine Arts, Boston.....................1951 -1952 studied at Black Mountain College........................................................ 1951 -The Kootz Gallery, New York, organized his first solo exhibition..................... 1952- Traveled N. Africa, Spain... with Virginia Museum of Fine Arts grant...............1953- Served in the army as a cryptologist..............................................................1955 -1959 Worked in New York..............................................................................1959- Went to Italy and settled permanently in Rome..............................................1968- Milwaukee Art Center mounted the first retrospective of his art......................1995- The Cy Twombly Gallery of the Menil Collection, Houston opened.................2001- Winner of the Leone d’Oro for Contemporary Art...........................................

Cy Tw

ombly

Unt

itled

(Hom

mag

e a

Pica

sso)

No. VIII (Natural History Part I Portfolio)

Hannah Hoch

Höch’s impact on Berlin Dada was profound. She was a mas-ter practitioner of photomon-tage -- a technique that all the dadaists adopted. With its roots in the kitsch tradition of splicing heads from family photos onto magazine pictures of ideal sol-diers or angelic women, pho-tomontage took images and type from the popular press

and combined them in ways to reveal the fissures that ran through middle-class ideology. Höch’s most famous

work, “Cut with the Kitchen Knife: Dada Through the Last Weimar Beer-belly Cultural Epoch of Germany” (1919),

is a 3’ x 4’ collage bursting with images of German indus-try, military figures, and recreational gaieties. Amid these

pictures, the word “dada” cuts like a knife, exposing the ludi-crous contradictions that were Weimar. Höch was a social ar-chaeologist working in reverse. Her montages break down what we see and know, and put the fragments back together in a way that makes us question the concepts of identity, culture, and subjectivity.

November 1, 1889 - May 31, 1978

Cut with a Kitchen Knife

1919

Cleopatra1970