1. Movements: Terms: The New York School: Action painting Pop Art Appropriation Minimal Art & Earthworks Installation Photorealism Assemblage Conceptual Art Performance Neo-Expressionism Happening Neo-Dada Pluralism Feminism Digital Postmodernism Chapter Twenty-Two Art Since 1945
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3. 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’.
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6. CHUCK CLOSE, Big Self-Portrait, 1967–1968. Acrylic on canvas, 8’ 11” x 6’ 11” x 2”.
7. Audrey Flack, Wheel of Fortune (Vanitas), 1977-78, Oil over acrylic on canvas, 8x8’
8. Telephone Booths (1968), Oil on canvas. Painting by Richard Estes .
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10. Felix Gonzalez-Torres “Untitled” As installed for The Museum of Modern Art, New York "Projects 34: Felix Gonzalez-Torres" May 16 - June 30, 1992, in 24 locations throughout New York City
11. Felix Gonzalez-Torres, Untitled (Public Opinion), 1991. Black rod licorice candy, individually wrapped in cellophane (endless supply), ideal weight, 700 pounds, dimensions variable.
12. Felix Gonzalez-Torres "Untitled" (For Stockholm), 1992 15-watt light bulbs, extension cords, porcelain light sockets Overall dimensions vary with installation Twelve parts: 62 ft. in length each
13. BRUCE NAUMAN, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967. Neon with glass tubing suspension frame, 4’ 11” x 4’ 7” x 2”. Private collection.
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16. JUDY CHICAGO, The Dinner Party, 1979. Multimedia, including ceramics and stitchery, 48’ x 48’ x 48’ installed.
21. JENNY HOLZER, Untitled (Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text), 1989. Extended helical tricolor LED electronic display signboard, 16” x 162’ x 6”. Solomon R. Guggenheim Museum, New York, December 1989–February 1990
37. ANSELM KIEFER, Nigredo, 1984. Oil paint on photosensitized fabric, acrylic emulsion, straw, shellac, relief paint on paper pulled from painted wood, 11’ x 18’.
45. Damien Hirst’s “The Physical Impossibility of Death in the Mind of Someone Living”
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47. Damien Hirst A Thousand Years 1990 Steel, glass, flies, maggots, MDF, insect-o-cutor, cow's head, sugar, water 213 x 427 x 213 cm
48. Damien Hirst Bad Environment for White Monochrome Paintings (1993) Steel, glass, acrylic on canvas, plastic containers for food and water, sarchophaga and musca domestica
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54. “Dream” “Broken Dream” “ You’ve got to take the rough with the smooth” – Damien Hirst on “Dream”/”Broken Dream”
105. INGRID CALAME From #258 Drawing (Tracings from the Indianapolis Motor Speedway and the L.A. River) , 2007 enamel paint on aluminum 72 X 120 inches
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108. Josh Keyes - 05.30.09 - 07.03.09 at David B. Smith Gallery on Santa Fe
109. Olafur Eliasson, 360-Degree Room for All Colors, 2002. Stainless steel, projection foil, fluorescent lights, wood and control unit. 10’ 6”x diameter of 26’
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Editor's Notes
There are excellent interactive study activities, Web links and videos related to this chapter available at www.mhhe.com/lwa8. This chapter contains many movements, styles, terms, directions and diverse artists. In order to fit this into one class period, I have tried to shorten the terms and movements. Feel free to add or delete, according to your time frame. You may wish to break this chapter into two lectures. End the semester with a chance for students to reflect on the changes in the art world, and art in their world today. A visit to a gallery or museum will give the students an opportunity to reference these concepts in context. 1945 was a turning point in the history of Western art. After World War II, there was a desire to create art which expressed something other than death, violence and hardship. A common theme focused on creation rather than destruction. Many European artists immigrated to the United States in an effort to create with a clean slate. For the first time, New York became the cultural center for the arts.
Feminism was a social and political movement in the 70’s that paved the way for more diversity in art and recognition of women artists. This image combines painting and ”female” craft to state that postmodern art offers diversity in media and style, but also in gender. Note the symbolism (house, quilt, heart, flowers), which was a rebuke to the male-dominant industrial look of Minimalism. The “Dinner Party” by Judy Chicago was viewed in Chapter 12: Crafts, which was a prime example of Feminist art. The anonymous Guerrilla Girls consisted of a group of female artists donning masks of gorillas. They protested the lack of inclusion of female artists in museums, galleries and art history books. One of their more famous posters asked, “Do women have to be naked to get into the Metropolitan Museum?” Less than 5% of the artists in the Modern Art sections are women, but 85% of the nudes are female. Prior to 1965, we would not have studied Anguissola, Gentileschi, or Cassatt because they were not in textbooks prior to this movement.
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