-
1960
- Tony Smith, Die.
- Morris, Box with the sound of its own making.
- Morris, ibox.
- Schneeman, eye body: 36 transformative actions.
-
1965
- Kosuth, art as idea as idea.
- kosuth, one and three tables.
- kawara, today.
- hesse, hang up.
- estes, telephone booths.
- kusama, narcissus garden.
-
1970
- araeen, chakras.
- piper, catalys III.
- saar, liberation of aunt jemima.
- acconci, following piece.
- burden, shoot.
- naumen, walking in an exxagerated manner around the perimeter of a square.
- estes, miami rug company.
- haacke, shapolsky manhattan real estate holdings.
- haacke, gallery goers birthplace and residence profiles.
- serra, prop and casting.
-
1975
- sol le witt, wall drawings 260.
- bartlett, rhapsody.
- estes, supreme hardware store.
- kushner, the persian line part 1.
- cragg, new stones.
- roth, flat waste.
- graham, performace, audience, mirror.
- abramovic, rhythm 0
- schneeman, interior scroll
- chicago, dinner party
-
Photorealist1. Reject medium-specificity
2. Reject literalism -> figurative andtheatrical objects
3. Reality effects (NOT naturalism)
4. Phantasmagoria
5. Hyper-real
- estes, miami rug company 1980
- estes, telephone booth,
- estes, supreme hardware store,
- flack, energy apples
-
After minimalism After End of Modernism
1. Eliminate the object -> concept
2. Concept in language -> serialistpermutations
3. Self-reflexive objects (or)emphasize the conditions of theobject
4. Temporal Experience -> serialistexpanse
5. Subjective orientation, instead of objective (or) Put the body at the center
6. Study Social/cultural systems
- haacke, a real time social system
- haacke, gallery goers birthplace and
- residence
- hesse, hang up and prop
- serra casting
- morris, ibox
- morris box
- with the sound of its own making
- bartlett, rhapsody
- darboven, milieu 80
- kawara, today
- sol le witt, wall drawings 260
- kosuth, 1 and 3 tables
- kosuth art as idea as idea
- tony smith die
-
Appropriation Art
1. Late Capitalism
a. Kitsch
b. Anthropomophicism
c. Consumer spectacled. Consumer desire
2. Marxist theory of valuea. (actual) value =materials + laborb. exchange value
3. “Death of the Author”
4. Myth of Originality
5. “Always already” /cultural construction of meaning
- prince, cowboy
- levine, after walker evans
- koons, new hoover
- koons sandwhiches
- koons, michael jackson and bubbles
-
Responses to RealismPost-Communist
1. After socialist realism = official art,official truth
2. Pastiche / Irony
3. ideological ambivalence?
wang, great criticism: nikon
-
Language and the “Return of Pain2ng”
America:
1a. Material and Image Plurality‐ fragments, shards, contradictions‐ pain2ng plus 3D objects
1b. A historical pas2che2. Images as linguis2c units (“signs”) ‐>which do not yield meaning
Germany:
1. The problem of con2nuing Germanart/cultural history (legacy of WWII)
a. Reversal = refusal of tradi2on and the past
b. Embrace the history in order to reject it.
2. Language = acts of remembrance
- baselitz, lazarus 1985
- salle, ugolinos room 1990
- cucchi, ferocious language 1980
- schnabel, the sea 1980
-
Pattern and Decoration
1a. Reject modernist oppositionsart vs. decoration/craftartist vs. artisanhigh art (painting/sculpture) vs.low arts (textiles/furnishings)
1b. Abstraction = artapproaching decoration
2. Discordant plurality ofpatterns and materials
3. Collaboration (artistic socialnetworks)
4. Post-Fordism (related toLate Capitalism)
5a. Gender (craft = womenswork)
5b. Pattern / abstraction in non-Western cultures
- kushner the persian line part 1 1975
- macconnell, chair 1980
- macconnell, tv room 1980
-
Installation Art
1. Work occupies gallery space
2. Viewer immersion
a. Integrate interiority/exteriority
b. Direct relationship between viewer & artist’s labor
3. Sculpture dissolves intoinstallation works
4. Commentary on capitalisteconomy
a. Production (“value”) ->
b. Consumption(exchange value) ->
c. Waste Product/Trash(loss of value) ->
d. Artistic Appropriation(restore “use value”)
5. Transposition of material &location
6. Multimedia -> multisensory
7. Conjuring cultural myth, memory,forgetting,
- hamilton, malediction 1990
- parker, neither from nor towards 1990
- cragg, new stones 1975
- borofsky, all is one 1980
- kusama, narcissus garden 1965
-
Body and Performance Art
1. Body = mediuma. Timeb. Spacec. Parameters for action
2. Rituala. Actions as symbolic actionsb. Evoke cultural meaningc. Masochism
3. Subject <–> Subject(not Subject -> Object)
4. Social Research
a. Transgression of boundaries
- acconci, following piece 1970
- graham, performance audience mirror 1975
- burden, shoot 1970
- Nauman, Walking in a Exaggerated Manner Around Perimeter of a Square, 1970
-
Feminist Art
1. Subject <-> Subject
2. Ethics of Power and Gender
3. Objectification of WomenActive Male -> passive female
4. Essentialismgender / biological sex
5. Community of Women6. Activism / Self-Assertion
- guerilla girls 1990
- chicago dinner party 1975
- schneeman, interior scroll 1975
- schneeman, eye body 1965
- abromovic rhythm 0
-
Race / Identity Politics
1) Strategies:
1) “Naming”
2) “Telling”
3) “Mixing”
4) “Turning Around”
2) Confrontation / Dialogue
1) Performing Race
3) Race = Socio-linguistic construct
4) Race = Pseudo-scientificConstruct
1) Phrenology / Physiognomy
2) Silhouette
- Walker, World’s Exposition, 1997
- weems, you became a scientific profile.1995
- simpson, bio 1990
- piper, catalys III, 1970
- saar, liberation of aunt jemima 1970
-
Ethnicity / Institutional Critique
1) Deconstruction of Race
1) Race = fallacy
2) Perception & categorization
2) Simulation / Parody ->Critique of racial constructs
1) Vanished people
2) Static
3) Primitive
4) Natural
5) Untouched by modern,industrial society
6) Fetishization of the Other
7) Discovery of the Other
3) Ethnic hybridity
4) Study national borders
5) Public Intervention
- Gomez-‐Pena, Tijuana-‐Niagara,1988
- Gomez-‐Pena, Two Undiscovered Amerindians, Visit the West, 1992-‐4
- Durham, from On Loan from the Museum of the American Indian, 1984
- Luna, ArCfact Piece, 1986-‐90
- Luna, Half indian/Half Mexican, 1991
-
Post-Colonial Theory and Art
Social and political realities of empire
1) Permeable national borders
2) Against the binary conception ofrace
3) Subaltern “without a voice”
4) “Ambivalence”
5) Trade networks / identity networks6) Diaspora(s)
- Hatoum, Strange Body. 1995
- Hatoum, traffic. 2000
- shonibare scramble for africa 2000
- Araeen,Chakras, 1970
-
ones without
- gonzalez-torres, portrait of ross in LA, 1990
- Gtorres, perfect lovers, 1990
- GT, projects 34, 1990
- bleckner, new radical 2000
- bleckner, bird installation 1995
- moffet, he kills me, 1990
|
|
