U21 pics b

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U21 pics b

  1. 1. Gardner’s Art Through the Ages, 12e Chapter 34 From the Modern to the Post-Modern and Beyond: Art of the Later 20th Century 1
  2. 2. Site Specific Art• Understand the development of Environmental and Site Specific Art as an outgrowth of ecological and environmental concerns. 2
  3. 3. Figure 34-37 ROBERT SMITHSON, Spiral Jetty, 1970. Black rock, salt crystals, earth, red water(algae) at Great Salt Lake, Utah. 1,500’ x 15’ x 3 1/2’. Estate of Robert Smithson; courtesy JamesCohan Gallery, New York; collection of DIA Center for the Arts, New York. 3
  4. 4. Figure 34-39 RICHARD SERRA, Tilted Arc,1981. Cor-Ten steel, 12’ x 120’ x 2 1/2”. InstalledFederal Plaza, New York City by the GeneralServices Administration, Washington D.C.Removed by the U.S. Government 1989. 4
  5. 5. New Models for Architecture• Examine the organic and fluid forms developed as new models for modernist architecture.• Recognize the distinctions between the works of Modernist and Postmodern architects. 5
  6. 6. Figure 34-40 FRANK LLOYD WRIGHT, Solomon R. Guggenheim Museum (exterior view fromthe northwest), New York, 1943–1959 (photo 1962). 6
  7. 7. Figure 34-41 FRANK LLOYD WRIGHT,Interior of the Solomon R. GuggenheimMuseum, New York, 1943–1959. 7
  8. 8. Figure 34-42 LE CORBUSIER, Notre Dame du Haut, Ronchamp, France, 1950–1955. 8
  9. 9. Figure 34-43 LE CORBUSIER, Interior of Notre Dame du Haut, Ronchamp, France, 1950–1955. 9
  10. 10. Figure 34-44 JOERN UTZON, Sydney Opera House, Sydney, Australia, 1959–1972. Reinforcedconcrete; height of highest shell, 200’. 10
  11. 11. Figure 34-45 EERO SAARINEN, Trans World Airlines terminal, Kennedy Airport, New York,1956–1962. 11
  12. 12. Figure 34-46 LUDWIG MIES VAN DER ROHEand PHILIP JOHNSON, Seagram Building, NewYork, 1956–1958. 12
  13. 13. Figure 34-47 SKIDMORE, OWINGS AND MERRILL, SearsTower, Chicago, 1974. 13
  14. 14. Figure 34-48 CHARLES MOORE,Piazza d’Italia, New Orleans,Louisiana, 1976–1980. 14
  15. 15. Figure 34-49 PHILIP JOHNSON andJOHN BURGEE with Simmons Architects,associated architects, a model of the AT&TBuilding, New York, 1978–1984. 15
  16. 16. Postmodern Architecture• Examine the elements and issues of Postmodern architecture in its use of classical and colonial forms as well as later deconstructivist forms. 16
  17. 17. Figure 34-50 MICHAEL GRAVES, The Portland Building, Portland, Oregon, 1980. 17
  18. 18. Figure 34-51 ROBERT VENTURI, JOHN RAUCH and DENISE SCOTT BROWN, house inDelaware (west elevation), 1978–1983. 18
  19. 19. Figure 34-52 RICHARD ROGERS and RENZO PIANO, Georges Pompidou National Center ofArt and Culture (the “Beaubourg”), Paris, 1977. 19
  20. 20. Figure 34-53 GÜNTER BEHNISCH, Hysolar Institute Building, University of Stuttgart, Stuttgart,Germany, 1987. 20
  21. 21. Figure 34-54 FRANK GEHRY, Guggenheim Museum, Bilbao, Spain, 1997. 21
  22. 22. Postmodernism in Painting, Sculpture, and New Media • Understand the inclusion of traditional elements, historical references, and artistic self-consciousness in Postmodern art. • Examine Neo-expressionist interest in intense emotions and in the physicality of paint and media combinations. • Understand the contemporary political content of feminist and cultural heritage art. • Examine the use of new video and digital technologies available in the making of art. • Understand cultural criticism as inherent to Postmodernism. 22
  23. 23. Postmodern Painting and Other Media• Understand the traditional elements, historical references, and artistic self-consciousness.• Examine Neo-expressionist intense emotions and the physicality of media combinations. 23
  24. 24. Figure 34-55 JULIAN SCHNABEL, The Walk Home, 1984–1985. Oil, plates, copper, bronze,fiberglass, and bondo on wood, 9’ 3” x 19’ 4”. Broad Art Foundation and the Pace Gallery, NewYork. 24
  25. 25. Figure 34-56 SUSAN ROTHENBERG, Tattoo, 1979. Acrylic, flashe on canvas, 5’ 7” x 8’ 7 1/8” x1 1/4”. Collection Walker Art Center, Minneapolis 25
  26. 26. Figure 34-57 ANSELM KIEFER, Nigredo, 1984. Oil paint on photosensitized fabric, acrylicemulsion, straw, shellac, relief paint on paper pulled from painted wood, 11’ x 18’. PhiladelphiaMuseum of Art, Philadelphia (gift of Friends of the Philadelphia Museum of Art). 26
  27. 27. Figure 34-58 CHRIS OFILI, TheHoly Virgin Mary, 1996. Paper collage,oil paint, glitter, polyester resin, mappins, elephant dung on linen, 7’ 11” x 5’11 5/16”. The Saatchi Collection,London. 27
  28. 28. Postmodern Art as Political Weapon• Understand the social content and political statements of feminist art along with innovative and expressive use of materials.• Understand the use of art to express gender and cultural heritage issues, as well as the experimental forms and innovative use of materials. 28
  29. 29. Figure 34-59 JUDY CHICAGO, The Dinner Party, 1979. Multimedia, including ceramics andstitchery, 48’ x 48’ x 48’ installed. 29
  30. 30. Figure 34-60 MIRIAM SCHAPIRO, Anatomy of a Kimono (section), 1976. Fabric and acrylicon canvas, 6’ 8” x 8’ 6”. Collection of Bruno Bishofberger, Zurich. 30
  31. 31. Figure 34-61 CINDY SHERMAN,Untitled Film Still #35, 1979. Black-and-white photograph, 10” x 8”. MetroPictures, New York. 31
  32. 32. Figure 34-62 BARBARA KRUGER,Untitled (Your Gaze Hits the Side ofMy Face), 1983. Photostat, red paintedframe, 6’ 1” x 4’ 1”. Courtesy of MaryBoone Gallery, New York. 32
  33. 33. Figure 34-63 ANA MENDIETA, Flowerson Body, 1973. Color photograph ofearth/body work with flowers, executed at ElYaagul, Oaxaca, Mexico . Courtesy of theEstate of Ana Medieta and Galerie Lelong,New York. 33
  34. 34. Figure 34-64 HANNAH WILKE, S.O.S.—Starification Object Series, 1974-82. 10 Black-and-whitephotographs with 15 chewing-gum sculptures in Plexiglas cases mounted on ragboard, from a seriesoriginally made for S.O.S. Mastication Box and used in an exhibition-performance at TheClocktower, January 1, 1975, 3’ 5” x 5’ 8”. 34
  35. 35. Figure 34-65 KIKI SMITH, Untitled, 1990.Beeswax and microcrystalline wax figures onmetal stands, female figure installed height 6’1 1/2” and male figure installed height 6’ 415/16”. Collection Whitney Museum ofAmerican Art, New York 35
  36. 36. Figure 34-66 FAITHRINGGOLD, Who’s Afraidof Aunt Jemima?, 1983.Acrylic on canvas withfabric borders, quilted, 7’ 6”x 6’ 8”. Private collection. 36
  37. 37. Figure 34-67 ADRIAN PIPER, Cornered, 1988. Mixed-media installation of variable size; videomonitor, table, and birth certificates. Collection of Museum of Contemporary Art, Chicago. 37
  38. 38. Figure 34-68 LORNA SIMPSON, Stereo Styles, 1988. 10 black-and-white Polaroid prints and10 engraved plastic plaques, 5’ 4” x 9’ 8” overall. Collection of Raymond J. Learsy, Sharon,Connecticut. 38
  39. 39. Figure 34-69 MELVIN EDWARDS,Tambo, 1993.Welded steel, 2 4 1/8" x 2 11/4" . Smithsonian American ArtMuseum,Washington, D.C. 39
  40. 40. Figure 34-70 DAVID HAMMONS, Public Enemy, installation at Museum of Modern Art,New York, 1991. Photographs, balloons, sandbags, guns, and other mixed media. 40
  41. 41. Figure 34-71 JAUNE QUICK-TO-SEE SMITH, Trade (Gifts for Trading Land with WhitePeople), 1992. Oil and mixed media on canvas, 5’ x 14’ 2”. Chrysler Museum of Art, Norfolk,Virginia (museum purchase 93.2). 41
  42. 42. Figure 34-72 LEON GOLUB, Mercenaries (IV), 1980. Acrylic on linen, 10’ x 19’ 2”.Collection Mr. and Mrs. Ulrich Meyer, Chicago. 42
  43. 43. Figure 34-73 MAGDALENAABAKANOWICZ, artist withBacks, at the Musée d’ArtModerne de la Ville de Paris,Paris, France, 1982. Copyright ©Magdalena Abakanowicz/Licensed by VAGA, New York,NY/Marlborough Gallery, NY. 43
  44. 44. Figure 34-74 DAVID WOJNAROWICZ, "When I Put My Hands On Your Body", 1990. Gelatin-silver print and silk-screened text on museum board, 2’ 2” x 3’ 2”. Collection of Tom Rauffenbart. 44
  45. 45. Figure 34-75 KRZYSZTOFWODICZKO, The Homeless Projection,1986–1987. Outdoor slide projection at theSoldiers and Sailors Civil War Memorial,Boston, organized by First Night, Boston. 45
  46. 46. Figure 34-76 NAM JUNE PAIK, Video still from Global Groove, 1973. 3/4 videotape, color,sound, 30 minutes. Collection of the artist. 46
  47. 47. Figure 34-77 DAVID EM, Nora, 1979. Computer-generated color photograph, 1’ 5” x 1’ 11”.Private collection. 47
  48. 48. Figure 34-78 JENNY HOLZER, Untitled (Selections from Truisms, Inflammatory Essays, TheLiving Series, The Survival Series, Under a Rock, Laments, and Child Text), 1989. Extended helicaltricolor LED electronic display signboard, 16” x 162’ x 6”. Solomon R. Guggenheim Museum, NewYork, December 1989–February 1990 (partial gift of the artist, 1989). 48
  49. 49. New Technologies for Art• Examine the expressive use of video and digital technologies by Postmodern artists. 49
  50. 50. Figure 34-79 BILL VIOLA, TheCrossing, 1996. Installation with twochannels of color video projection ontoscreens 16’-high. 50
  51. 51. Figure 34-86 MATTHEWBARNEY, Cremaster cycle,installation at the Solomon R.Guggenheim Museum, 2003. 51
  52. 52. Criticism of Commodity Culture, Art History, and Art Institutions• Understand Postmodernist criticism of contemporary commodity culture, and criticism of galleries and museums.• Examine Postmodern art that draws attention to global social injustice and world problems. 52
  53. 53. Figure 34-80 TONY OURSLER, Mansheshe, 1997.Ceramic, glass, video player, videocassette,CPJ-200 video projector, sound, 11” x 7” x 8” each. Courtesy the artist and Metro Pictures, NewYork. 53
  54. 54. Figure 34-81 JEFF KOONS, Pink Panther,1988. Porcelain, 3’ 5” x 1’ 8 1/2” x 1’ 7”.Collection Museum of Contemporary Art,Chicago (Gerald S. Elliot Collection). 54
  55. 55. Figure 34-82 MARK TANSEY, A Short History of Modernist Painting, 1982. Oil on canvas,three panels, each 4’ 10” x 3’ 4”. 55
  56. 56. Figure 34-83 ROBERT ARNESON, California Artist, 1982.Glazed stoneware, 5’ 8 1/4” x 2’ 3 1/2” x 1’ 8 1/4”. SanFrancisco Museum of Modern Art (gift of the Modern ArtCouncil). Copyright © Estate of Robert Arneson/Licensed byVAGA, New York, NY. 56
  57. 57. Figure 34-84 HANS HAACKE, MetroMobiltan, 1985. Fiberglass construction, three banners,and photomural, 11’ 8” x 20’ x 5’. Collection Centre Georges Pompidou, Paris. 57
  58. 58. Figure 34-85 GUERRILLA GIRLS, The Advantages of Being A Woman Artist, 1988. Poster. 58
  59. 59. Discussion Questions How are the two main processes of Abstract Expressionism different? Name and processes and one artist for each. What do Minimalist sculptors mean by the concept of objecthood? What is meant by Conceptual Art and the elimination of the object? Why do you think Modernist art and architecture alienated the public? Do you agree that Postmodern art and architecture are more in tune to the public’s interests? In what ways has new technology already changed our perception of what art is? 59
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