Web & Social Media Analytics Previous Year Question Paper.pdf
Post Minimalism and Gender
1. Post
Minimalism
and
Gender
Art
109A:
Art
since
1945
Westchester
Community
College
Fall
2012
Dr.
Melissa
Hall
2. Post
Minimalism
and
Gender
As
Anna
Chave
and
others
have
argued,
Minimalism
was
in
many
ways
the
apotheosis
of
the
macho
ideal
of
the
arHst
“The
minimal
arHsts
of
the
sixHes
were
like
industrial
fronHersman
exploring
the
factories
and
the
steel
mills.
The
artwork
must
carry
the
stamp
of
work-‐-‐that
is
to
say,
men's
work,
the
only
possible
serious
work,
brought
back
sHll
glowing
from
the
foundries
and
mills
without
a
drop
of
irony
to
put
a
sag
in
its
erect
heroism.
And
this
men's
work
is
big,
foursquare,
no
nonsense,
a
priori.”
Richard
Serra,
Splashing,
Leo
Castelli
Warehouse,
New
York,
1968
Julia
Bryan-‐Wilson,
“Hard
hats
and
Art
Strikes:
Robert
Morris
in
1970,”
Art
BulleHn
(June
2007)
h]p://www.accessmylibrary.com/coms2/
summary_0286-‐30961677_ITM
4. Lynda
Benglis
In
1969-‐70
Lynda
Benglis
began
working
with
poured
latex,
translaHng
the
drip
and
pour
methods
of
Jackson
Pollock,
Morris
Louis
and
Helen
Frankenthaler
into
sculpture
ArHst
Lynda
Benglis
painHng
a
floor
w.
40
gallons
of
bright
latex
and
pigments
at
the
University
of
Rhode
Island,
1969
Henry
Groskinsky,
LIFE
Magazine
5. Lynda
Benglis
The
poured
pieces
used
industrial
materials
and
grand
gestural
methods
coded
as
“masculine”
ArHst
Lynda
Benglis
painHng
a
floor
w.
40
gallons
of
bright
latex
and
pigments
at
the
University
of
Rhode
Island,
1969
Henry
Groskinsky,
LIFE
Magazine
7. Lynda
Benglis
But
the
resulHng
pieces
are
candy-‐
colored
blobs
that
melt
and
ooze,
rather
than
assert
an
authoritarian
presence
Donald
Judd,
Un9tled,
1972
Tate
Lynda
Benglis,
Night
Sherbet
A,
1968
8. Lynda
Benglis
The
sculptural
pieces
were
presented
without
pedestal
or
frame
-‐-‐
like
Minimalist
“specific
objects”
Lynda
Benglis,
Installa9on
at
Cheim
Read,
2004
9. Lynda
Benglis
But
the
squishy
material
was
a
deliberate
deflaHon
of
the
Minimalist
“heavy
metal”
aestheHc
Carl
Andre,
Fall,
1968
Guggenheim
Lynda
Benglis,
For
Carl
Andre,
1970
Polyurethane
foam
10. Lynda
Benglis
In
other
pieces
Benglis
deflated
the
macho
associaHons
of
lead
by
foregrounding
its
fluid
properHes
Lynda
Benglis,
Quartered
Meteor,
1969
Lead
Brooklyn
Museum
12. Lynda
Benglis
Like
Louise
Bourgeois,
Benglis
invited
explicitly
sexual
associaHons
in
her
work
Lynda
Benglis,
Come,
1974
Linda
Benglis
and
Louise
Bourgeois,
Bronze
Circa
70
at
Cheim
&
Read
Gallery,
2007
13. Lynda
Benglis
While
sexual
self
expression
and
an
“ejaculatory”
approach
was
admired
in
men,
it
was
shocking
for
a
woman
to
assert
her
sexual
idenHty
Hans
Namuth,
Elaine
and
Willem
de
Kooning,
1953
14. Lynda
Benglis
But
Benglis’
art
was
informed
by
an
emerging
Feminist
consciousness,
and
we
will
meet
her
again
as
a
leading
figure
in
the
Feminist
art
movement
Lynda
Benglis,
ArIorum
adverHsement
1974
Lynda
Benglis,
Smile,
1974
Bronze
15. Eva
Hesse
Eva
Hesse
was
born
in
Germany
and
immigrated
to
the
Unites
States
in
1939
to
escape
Nazi
persecuHon
Eva
Hesse
circa
1959
(Photo
by
Stephen
Korbet)
Image
source:
h]p://www.gwarlingo.com/2011/sol-‐lewi]s-‐advice-‐to-‐eva-‐hesse/
16. Eva
Hesse
She
studied
at
Cooper
Union
and
at
the
Yale
School
of
Art,
and
aoer
a
brief
life
marked
by
tragedy
she
died
of
a
brain
tumor
at
the
age
of
34.
Josef
Albers
and
Eva
Hesse
at
Yale,
c.
1958
17. Eva
Hesse
Coming
of
age
when
the
Feminist
movement
was
gepng
underway,
Hesse’s
work
has
ooen
been
interpreted
as
a
Feminist
criHque
of
Minimalism
“Using
materials
then
new
to
sculpture,
like
latex
and
fiberglass,
she
made
work
that
hung,
draped,
dangled,
looped,
drooped,
slumped,
webbed,
protruded
breast-‐
and
penislike,
imitated
skin,
suggested
bodily
orifices,
spilled
or
just
lay
on
the
floor.”
Grace
Glueck,
“Bringing
the
Soul
into
Minimalism:
Eva
Hesse,”
Time
Magazine
May
2006
Eva
Hesse
holding
Ingeminate,
1965.
SFMOMA
18. Eva
Hesse
While
Hesse
conHnued
to
work
abstractly,
and
conHnued
to
employ
many
of
the
strategies
used
by
Minimalist
sculptors,
her
work
“humanized”
Minimalism
by
reintroducing
bodily
associaHons,
and
allowing
for
qualiHes
of
fragility
and
vulnerability
absent
from
the
Minimalist
“heavy
metal”
aestheHc.
Eva
Hesse’s
studio
Image
source:
h]p://nogoodforme.filmsHlls.org/blog/archives/2008/03/18/style_icon_eva.html
19. Eva
Hesse
Rejected
cool
impersonality
of
Minimalism
“Humanized”
Minimalism
by
reintroducing
bodily
associaHons,
and
allowing
for
qualiHes
of
fragility
and
vulnerability
absent
from
the
Minimalist
“heavy
metal”
aestheHc
Eva
Hesse
in
her
Bowery
Studio,
New
York,
ca.
1965,
courtesy
of
Hauser
&
Wirth
Zurich,
Switzerland.
(c)
The
Estate
of
Eva
Hesse
h]p://www.evahesse.com/work_detail.php?
media_id=2217&sequence_id=2576&sequence_posiHon=4&kat=4
20. Eva
Hesse
Hesse
strove
to
create
works
that
were
without
“preconcepHon”
Working
without
preconcepHon
allowed
for
creaHve
exploraHon
beyond
what
could
be
imagined
“I
would
like
the
work
to
be
non-‐work.
This
means
that
it
would
find
its
way
beyond
my
preconcepHons
.
.
.
What
I
want
of
my
art
I
can
eventually
find.
The
work
must
go
beyond
this.
It
is
my
main
concern
to
go
beyond
what
I
know
and
what
I
can
know.
The
formal
principles
are
understandable
and
understood.
It
is
the
unknown
quanHty
from
which
and
where
I
want
to
go.”
Eva
Hesse,
Statement,
1968;
cited
in
SHles
&
Selz,
p.
594
Eva
Hesse,
Hang
Up,
1966
Acrylic
paint
on
cloth
over
wood;
acrylic
paint
on
cord
over
steel
tube
Art
InsHtute
of
Chicago
http://www.artic.edu/aic/collections/artwork/71396
21. Eva
Hesse
In
Accession
II
Hesse
directly
engaged
the
Minimalist
cube
Donald
Judd,
Un9tled,
1972
Tate
Eva
Hesse,
Accession
Il,
1967-‐9
Aluminum
mesh,
rubber
tubes
22. Eva
Hesse
Accession
II
-‐-‐
galvanized
steel
cube
woven
with
thousands
of
rubber
tubes
“Hesse's
technique
of
weaving
brings
to
mind
a
stereotype
of
female
domesHcity
that
clashes
with
the
hard-‐edged
masculinity
of
the
mass-‐produced
steel.
The
sculpture
-‐-‐
weirdly
seducHve
on
the
inside,
forbidding
on
the
outside
-‐-‐
can
be
linked
with
the
work
of
other
arHsts
of
the
Hme,
like
Donald
Judd
.
.
.”
Michael
Kimmelman,
“Eva
Hesse
and
the
Lure
Of
'Absurd
Opposites',”
New
York
Times,
Jan
14
2009
h]p://query.nyHmes.com/gst/fullpage.html?
res=9E0CE7D61330F933A25756C0A964958260&sec=&spon=&pagewa
nted=all
Eva
Hesse,
Accession
Il,
1967-‐9
Aluminum
mesh,
rubber
tubes
23. Eva
Hesse
“You
can't
not
see
it
as
organic:
sea
anemone,
vagina
.
.
.
its
obvious
predecessor
is
that
icon
of
oral
sex
in
the
Museum
of
Modern
Art,
Meret
Oppenheim's
fur-‐lined
cup
and
spoon.”
Robert
Hughes,
“ Telling
An
Inner
Life,”
Time
Dec
28,
1992
Meret
Oppenheim,
Object
(Fur-‐lined
teacup)
1936.
h]p://www.Hme.com/Hme/magazine/arHcle/0,9171,977372,00.html
MOMA
Eva
Hesse,
Accession
Il,
1967-‐9
Aluminum
mesh,
rubber
tubes
24. Eva
Hesse
Minimalism
privileged
hardness,
order,
logic,
and
certainty
Hesse’s
works
are
ooen
soo
rather
than
hard;
irregular
rather
than
precise;
perverse
rather
than
serious;
and
sensual
rather
than
austere
“absurdity
is
the
key
word”
Eva
Hesse
Eva
Hesse,
Un9tled,
1970
25. Eva
Hesse
Like
the
Minimalists,
she
also
worked
with
grids,
seriality,
and
repeHHon
Eva
Hesse,
Sans
II
(one
unit),
1968
26. Eva
Hesse
But
the
pieces
assert
a
defiant
irregularity
that
refuses
to
“snap-‐to-‐
grid”
Eva
Hesse,
Repe99on
Nineteen
III.
1968
Fiberglass
and
polyester
resin,
nineteen
units,
Each
19
to
20
1/4”
MOMA
27. Eva
Hesse
Rather
than
imposing
order
and
regularity,
Hesse
embraced
chance,
disorder,
and
chaos
as
a
fact
of
life
“Her
goal,
she
explained,
was
to
portray
the
essenHal
absurdity
of
life.
In
formal
terms,
this
theme
was
realized
through
a
wedding
of
contradicHons:
“order
versus
chaos,
stringy
versus
mass,
huge
versus
small,”
in
the
arHst’s
words.”
Nancy
Spector
h]p://www.guggenheimcollecHon.org/site/
arHst_work_md_63_1.html
Eva
Hesse,
Metronomic
Irregularity,
1966-‐67
Image
source:
h]p://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/
eva_hesse.php?i=1701
28. Eva
Hesse
The
pieces
are
notoriously
fragile,
made
from
materials
the
arHst
knew
would
decay
over
Hme
“Hesse
was
aware
that
latex
is
an
unstable
material,
disposed
to
oxidize
and
turn
bri]le
.
.
.
.
She
was
very
aware
that
it
was
temporary.
She
was
not
defensive
about
it;
she
was
offensive
about
it.
She
would
say
that
it
was
an
a]ribute.
Everything
was
for
the
process-‐-‐a
moment
in
Hme,
not
meant
to
last.”
Arthur
Danto,
“All
About
Eva,”
Na9on
June
28,
2006
h]p://www.thenaHon.com/doc/20060717/danto
Eva
Hesse,
Con9ngent,
1969
NaHonal
Gallery
of
Australia
29. Eva
Hesse,
Expanded
Expansion,
1969
Reinforced
fiberglass
poles
and
rubberized
cheesecloth,
Overall:
122
x
300
inches
Guggenheim
Museum
"At
this
point,"
Hesse
wrote,
"I
feel
a
li]le
guilty
when
people
want
to
buy
it.
I
think
they
know
but
I
want
to
write
them
a
le]er
and
say
it's
not
going
to
last.
I
am
not
sure
what
my
stand
on
lasHng
really
is.
Part
of
me
feels
that
it's
superfluous,
and
if
I
need
to
use
rubber
that
is
more
important.
Life
doesn't
last;
art
doesn't
last.”
Arthur
Danto,
“All
About
Eva,”
Na9on
June
28,
2006
h]p://www.thenaHon.com/doc/20060717/danto
32. "Eva
Hesse
took
sculpture,
which
had
supposedly
been
empHed
of
its
associaHve
qualiHes
by
Minimalism,
and
showed
that
repeHHon,
the
grid,
scale,
did
in
fact
have
evocaHve
powers
that
echoed
our
experience
of
the
world
and
of
our
bodies.”
Elizabeth
Frank;
cited
in
Michael
Kimmelman,
“Eva
Hesse
and
the
Lure
Of
'Absurd
Opposites',”
New
York
Times,
Jan
14
2009
h]p://query.nyHmes.com/gst/fullpage.html?res=9E0CE7D61330F933A25756C0A964958260&sec=&spon=&pagewanted=all
Eva
Hesse,
Right
ASer
1969
Milwauke
Art
Museum
33. Louise
Bourgeois
In
the
1960s
Louise
Bourgeois
abandoned
the
verHcal
format
and
rigid
materials
of
her
early
personages
Louise
Bourgois
Image
source:
h]p://www.centrepompidou.fr/educaHon/ressources//ENS-‐bourgeois-‐EN//ENS-‐
bourgeois-‐EN.html
34. Louise
Bourgeois
She
began
working
with
malleable
materials
like
plaster
and
latex,
and
organic
forms
that
suggest
natural
processes
Louise
Bourgeois,
Clutching,
1962
Plaster
35. Louise
Bourgeois
While
Minimalist
sculpture
looked
prisHne
and
machine-‐made,
Bourgeois’
“eccentric
abstracHons”
seemed
artless,
unformed,
and
debased
Louise
Bourgeois,
Amoeba,
1962
Bronze
painted
white
36. Louise
Bourgeois
One
of
her
most
famous
pieces
from
this
period
is
FilleVe
“Her
most
famous
and
most
photographed
“eroHc”
work
is
her
latex
sculpture
FilleVe
(1968),
which
playfully
confuses
genders.
While
it
is
obviously
a
2o-‐long
phallus,
it
is
comic
and
diminishing
rather
than
commanding.
Bourgeois
emphasised
her
jokey
French
name
for
the
object
–
a
li]le
girl
–
by
calling
it
“a
li]le
Louise”.
Elaine
Showalter,
Tate
Gallery
h]p://www.tate.org.uk/tateetc/issue11/lumpsbumps.htm
Louise
Bourgeois,
FilleVe,
1968
Latex
on
plaster
37. Louise
Bourgeois
“In
one
photograph,
suspended,
it
resembles
a
toy
clown
in
a
hat
and
overcoat
with
big
round
boots.
In
a
celebrated
photograph
by
Robert
Mapplethorpe,
she
holds
it
tucked
casually
under
her
arm
like
a
bague]e.”
Elaine
Showalter,
Tate
Gallery
h]p://www.tate.org.uk/tateetc/issue11/
lumpsbumps.htm
Robert
Mapplethorpe,
Louise
Bougeois
with
FilleVe,
1968
38. Louise
Bourgeois
Like
the
Surrealists,
Bourgeois
was
interested
in
forms
that
speak
directly
to
us
in
a
visceral
way
(rather
than
appealing
to
the
raHonal
mind)
Louise
Bourgeois,
Sleep
II,
1967
Louise
Bourgeois,
Le
Regard,
1966
Marble
Latex
on
plaster
39. Louise
Bourgeois
She
was
especially
interested
in
forms
that
confound
our
preconceived
noHons
and
seem
to
be
in
a
constant
state
of
metamorphosis
Louise
Bourgeois,
Janus
Fleuri,
1968
Bronze,
gold
paHna
40. Louise
Bourgeois
Her
engagement
with
ambiguous
sexual
references
was
personal
She
was
brought
up
by
an
abusive
father,
and
saw
her
art
as
a
means
of
working
through
psychic
trauma
Louise
Bourgeois,
Janus
in
Leather
Jacket,
1968
Bronze
41. Louise
Bourgeois
One
of
her
most
famous
pieces
is
Htled
the
Destruc9on
of
the
Father,
one
of
her
first
installaHon
pieces
In
this
work
the
arHst
indulges
in
a
fantasy
of
a
family
banquet
in
which
her
father’s
flesh
is
consumed
Louise
Bourgeois,
Destruc9on
of
the
Father,
1974
42. Yayoi
Kusama
Yayoi
Kusama
was
born
in
Japan
and
came
to
New
York
in
1957
Kusama
in
front
of
Infinity
Net
painHng,
New
York.
c.ﾊ1961
MOMA
43. Yayoi
Kusama
She
began
painHng
large
scale
canvases
that
used
repeHHve
pa]erns
of
nets
and
dots
Kusama
in
her
New
York
studio,
c.1958–59.
Image
source:
h]p://interacHve.qag.qld.gov.au/looknowseeforever/Hmeline/
45. Yayoi
Kusama
In
the
early
1960s
Kusama
began
covering
common
household
objects
with
soo
protruding
forms
suggesHng
phalluses
(Claes
Oldenberg’s
soo
sculptures
were
influenced
by
her
work)
Yayoi
Kusama,
Accumula9on
Chair,
1963
46. Yayoi
Kusama,
Oven-‐Pan,
1963.
Walker
Art
Center
Yayoi
Kusama,
The
Man,
1963
Image
source:
h]p://arrestedmoHon.com/2012/02/previews-‐yayoi-‐kusama-‐tate-‐modern/
47. InstallaHon
of
Kusama’s
AccumulaHon
sculptures
at
the
Tate
Modern
Image
source:
h]p://arrestedmoHon.com/2012/02/previews-‐yayoi-‐kusama-‐tate-‐modern/
48. Yayoi
Kusama
These
then
became
props
for
installaHons,
as
Kusama
began
to
explore
the
creaHon
of
total
environments
Yayoi
Kusama,
Accumula9on
2,
1968
Image
source:
h]p://metaphysicalpepper.tumblr.com/post/446311293/yayoi-‐kusama-‐accumulaHon-‐no-‐2-‐1968
49. Yayoi
Kusama
In
1967
Kusama
began
staging
performances
that
linked
the
Happenings
of
the
1950s
to
the
1960s
sexual
revoluHon
and
peace
movement
Body
FesHval
Poster,
1967
h]p://www.yayoi-‐kusama.jp/e/happening/index.html
Yayoi
Kusama,
Alice
in
Wonderland
performance,
Central
Park,
New
York,
11
August,
1968.
Image
source:
h]p://www.flickr.com/photos/sco]_waterman/6782823389/
50. Yayoi
Kusama
In
Infinity
Mirror
-‐
Phalli’s
Field
Kusama
created
a
total
environment
that
immersed
the
viewer
in
a
disorienHng
field
of
endless
repeHHon
Yayoi
Kusama,
Infinity
Mirror
Room
-‐
Phalli’s
Field,
1965
51. Yayoi
Kusama
In
the
following
year
she
completed
an
installaHon
Htled
Love
Forever
-‐-‐
a
mirror
lined
environment
with
flashing
electric
lights
Yayoi
Kusama,
InstallaHon
view
of
Infinity
Mirrored
Room
-‐
Love
Forever
(1966;
remade
1994)
at
Le
ConsorHum,
Dijon
in
2000
Tate
52. Yayoi
Kusama
One
of
Kusama’s
more
recent
mirror
rooms
was
exhibited
at
the
Whitney
biennial
in
2004
Yayoi
Kusama
,
Fireflies
on
the
Water,
2002.
Mirror,
plexiglass,
150
lights,
and
water
Whitney
Museum
![Post
Minimalism
and
Gender
As
Anna
Chave
and
others
have
argued,
Minimalism
was
in
many
ways
the
apotheosis
of
the
macho
ideal
of
the
arHst
“The
minimal
arHsts
of
the
sixHes
were
like
industrial
fronHersman
exploring
the
factories
and
the
steel
mills.
The
artwork
must
carry
the
stamp
of
work-‐-‐that
is
to
say,
men's
work,
the
only
possible
serious
work,
brought
back
sHll
glowing
from
the
foundries
and
mills
without
a
drop
of
irony
to
put
a
sag
in
its
erect
heroism.
And
this
men's
work
is
big,
foursquare,
no
nonsense,
a
priori.”
Richard
Serra,
Splashing,
Leo
Castelli
Warehouse,
New
York,
1968
Julia
Bryan-‐Wilson,
“Hard
hats
and
Art
Strikes:
Robert
Morris
in
1970,”
Art
BulleHn
(June
2007)
h]p://www.accessmylibrary.com/coms2/
summary_0286-‐30961677_ITM](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)