Art Since 1970postmodernism: a reaction against modernistformalism, seen as elitist . Far more encompassing andaccepting t...
Art Since 1970Themes & Styles:• Appropriation(pastiche)• Multi-media works• Blurring of boundariesbetween high vs. low• Se...
Feminist ArtJUDY CHICAGO, The Dinner Party,1979. Fig. 15-21.CINDY SHERMAN, Untitled Film Still#35, 1979. Fig. 15-22.
Ingres, Grande Odalisque, 1814, oilFig.12-3“The Gaze” & Feminist ArtPicasso, LesDemoisellesd’Avignon,1907, oil
Barbara Kruger, Untitled (Your Gaze Hitsthe Side of My Face), 1981Photo/collage, fig.15-23“The Gaze” & Feminist Art• Train...
Site-specific ArtROBERT SMITHSON, Spiral Jetty, 1970Site-specific Art - Earthworks
Site-specific Art - Earthworks• Concern for environment(American SW)• Draw attention to land(entropy)• Question role ofmus...
Maya Lin, Vietnam VeteransMemorial, Washington, D.C.1981-83, fig.15-34http://video.pbs.org/video/1237561998/Architecture (...
Maya Lin, Vietnam VeteransMemorial, Washington, D.C.1981-83, fig.15-34Architecture (Modernist)• Result of juriedcompetitio...
RICHARD ROGERS and RENZOPIANO, Georges Pompidou NationalCenter of Art and Culture, 1977.Fig. 15-36.Architecture (Postmoder...
Architecture (Postmodernist)FRANK GEHRY, Guggenheim Bilbao Museo, 1997. Fig. 15-37.
• Deconstructivism= deconstructingthe nature ofbuilding• Challengeexpectation ofmaterials andappearance• Creative freedom&...
Performance & Conceptual ArtJOSEPH Beuys, How to ExplainPictures to a Dead Hare, 1965,fig. 15-41JOSEPH KOSUTH, One and Thr...
New MediaBill Viola, The Crossing1996, video/soundFig. 15-43http://www.youtube.com/watch?v=fHqhaH6m9pY• Video/sound instal...
JEFF KOONS, Pink Panther, 1988. Fig. 15-30.Social and Political ArtMARCEL DUCHAMP, Fountain (second version),1950 (origina...
• Postmodernism• Neo-Pop? Neo-Dada?(Duchamp’s readymade)• Commodity culture• Cartoon character andcenterfold• Kitschy mate...
Social and PoliticalArtChris Ofili, The HolyVirgin Mary, 1996,mixed media
Final Exam Review:Comparative Essay• What are the individual characteristics ofeach work in terms of style & subject?• How...
#1.Picasso, LesDemoisellesd’Avignon,1907, oilWILLEM DE KOONING, Woman I, 1950–1952.
#2DONALD JUDD, Untitled, 1969. Fig. 15-10.Maya Lin, Vietnam VeteransMemorial, Washington, D.C.1981-83, fig.15-34
#3JEFF KOONS, Pink Panther, 1988.Fig. 15-30.ANDY WARHOL, MarilynDiptych, 1962. Fig. 15-17.
#4JACKSONPOLLOCK,Number 1,1950(LavenderMist), 1950VASSILYKANDINSKY,Improvisation28 (secondversion), 1912
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American art, 1970 to Present

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American art, 1970 to Present

  1. 1. Art Since 1970postmodernism: a reaction against modernistformalism, seen as elitist . Far more encompassing andaccepting than the more rigid confines of modernistpractice, postmodernism offers something for everyoneby accommodating a wide range of styles, subjects, andformats, from traditional easel painting to installation andfrom abstraction to illusionism. Postmodern art oftenincludes irony or reveals a self-conscious awareness onthe part of the artist of art-making processes or theworkings of the art world.-from Gardner’s Art Through the Ageshttp://www.youtube.com/watch?v=QdO9orWQ-Nk
  2. 2. Art Since 1970Themes & Styles:• Appropriation(pastiche)• Multi-media works• Blurring of boundariesbetween high vs. low• Self-consciousness• Deconstruction(destabilizingmeaning)• Socio-political nature• Inclusiveness &individualityKehinde WileyNapoleon Leading theArmy over the Alps, 2005,oil, AmericanJacques-Louis DavidNapoleon Crossing the St.BernardPass, 1801, oil, FrenchPainting is about theworld that we live in.Black men live in theworld. My choice is toinclude them. This ismy way of saying yesto us.-Kehinde Wileyhttp://www.youtube.com/watch?v=3jNKBOMOTPA
  3. 3. Feminist ArtJUDY CHICAGO, The Dinner Party,1979. Fig. 15-21.CINDY SHERMAN, Untitled Film Still#35, 1979. Fig. 15-22.
  4. 4. Ingres, Grande Odalisque, 1814, oilFig.12-3“The Gaze” & Feminist ArtPicasso, LesDemoisellesd’Avignon,1907, oil
  5. 5. Barbara Kruger, Untitled (Your Gaze Hitsthe Side of My Face), 1981Photo/collage, fig.15-23“The Gaze” & Feminist Art• Trained as graphicdesigner• Incorporates mass mediatechniques in order tosubvert them• Large scale• Image and text (black &white)• Red frame• Questions assumptionsabout beauty andfemininity, objectificationof women
  6. 6. Site-specific ArtROBERT SMITHSON, Spiral Jetty, 1970Site-specific Art - Earthworks
  7. 7. Site-specific Art - Earthworks• Concern for environment(American SW)• Draw attention to land(entropy)• Question role ofmuseums and galleries inart (resists art market)• Shape and colordetermined by site =spiral salt molecules• Not always visible• Envisioned as return toprimordial beginningsROBERT SMITHSON, Spiral Jetty,1970. Fig. 15-38.http://www.youtube.com/watch?v=vCfm95GyZt4
  8. 8. Maya Lin, Vietnam VeteransMemorial, Washington, D.C.1981-83, fig.15-34http://video.pbs.org/video/1237561998/Architecture (Modernist)
  9. 9. Maya Lin, Vietnam VeteransMemorial, Washington, D.C.1981-83, fig.15-34Architecture (Modernist)• Result of juriedcompetition held in 1981• Selected while Lin was anarchitecture student at Yale• Highly Controversial• Didn’t glorify the war;focus on individual cost ofwar• Selected minimalist (andmodernist design) overclassical forms• List of names of dead,chronologically from thecenter• Like a black, polished“cut” into the earth• One end points atWashington Monument,other at Lincoln Memorial
  10. 10. RICHARD ROGERS and RENZOPIANO, Georges Pompidou NationalCenter of Art and Culture, 1977.Fig. 15-36.Architecture (Postmodernist)ALEXANDRE-GUSTAVE EIFFEL, EiffelTower, 1889. Fig. 13-19.
  11. 11. Architecture (Postmodernist)FRANK GEHRY, Guggenheim Bilbao Museo, 1997. Fig. 15-37.
  12. 12. • Deconstructivism= deconstructingthe nature ofbuilding• Challengeexpectation ofmaterials andappearance• Creative freedom& signature style• Curvilinear vs.rectilinear formsFRANK GEHRY, GuggenheimBilbao Museo, 1997. Fig. 15-37.Architecture (Postmodernist)FRANCESCO BORROMINI, San Carlo alle QuattroFontane, 1665–1676. Fig. 10-7.
  13. 13. Performance & Conceptual ArtJOSEPH Beuys, How to ExplainPictures to a Dead Hare, 1965,fig. 15-41JOSEPH KOSUTH, One and Three Chairs1965. Fig. 15-41.
  14. 14. New MediaBill Viola, The Crossing1996, video/soundFig. 15-43http://www.youtube.com/watch?v=fHqhaH6m9pY• Video/sound installation• Companion videos (menengulfed in water &flames)• Reflects back on theviewer’s own body(sensations) immersed ina image-sound space• Spiritual & religiousmeanings• Uses elements (fire,water) as allegories ofpersonal transformation
  15. 15. JEFF KOONS, Pink Panther, 1988. Fig. 15-30.Social and Political ArtMARCEL DUCHAMP, Fountain (second version),1950 (original version produced 1917).Fig. 14-13.
  16. 16. • Postmodernism• Neo-Pop? Neo-Dada?(Duchamp’s readymade)• Commodity culture• Cartoon character andcenterfold• Kitschy material (mass-produced, cute,sentimental objects)• In The Banality Show• Ironic commentary orlove of popular culture? JEFF KOONS, Pink Panther, 1988.Fig. 15-30.Social and Political Art
  17. 17. Social and PoliticalArtChris Ofili, The HolyVirgin Mary, 1996,mixed media
  18. 18. Final Exam Review:Comparative Essay• What are the individual characteristics ofeach work in terms of style & subject?• How do they relate to the particular historic,artistic and cultural contexts in which they weremade?• With what artistic movements are theyassociated?• Why compare the two art works? What are theirsimilarities & differences?
  19. 19. #1.Picasso, LesDemoisellesd’Avignon,1907, oilWILLEM DE KOONING, Woman I, 1950–1952.
  20. 20. #2DONALD JUDD, Untitled, 1969. Fig. 15-10.Maya Lin, Vietnam VeteransMemorial, Washington, D.C.1981-83, fig.15-34
  21. 21. #3JEFF KOONS, Pink Panther, 1988.Fig. 15-30.ANDY WARHOL, MarilynDiptych, 1962. Fig. 15-17.
  22. 22. #4JACKSONPOLLOCK,Number 1,1950(LavenderMist), 1950VASSILYKANDINSKY,Improvisation28 (secondversion), 1912

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