9.4 contemp trends

Postmodernism:

Contemporary
Trends

Art
109A:

Art
since
1945

Westchester
Community
College

Fall
2011

Dr.
Melissa
Hall

Postmodernism

“The
last
generaEon
.
.
.
was
arguably
the
most

abnormal,
surprising,
chaoEc,
and
troubling
era
in
the

enEre
history
of
art.

All
tradiEons
in
the
realm
of
the

visual
came
tumbling
down
to
an
extent
never

demonstrated
before.

Inherited
ideas
about
the

relaEonship
between
visuality
and
reality
in
general

were
confounded
.
.
.
.
Around
1960,
the
idea
became

widespread
that
the
aestheEc
approach
was
not

really
the
only
available
way
to
make
and
appreciate

the
importance
of
art
.
.
.
.
Instead
of
pure
form
and

color,
the
values
of
criEcism,
analysis,
cogniEon,

social
commentary,
wit,
humor,
surprise
and
reversal

now
prevail.

These
values
have
become
the

generalized
underpinnings
of
a
broad
post-‐Modern

approach
that
contains
many
styles
.
.
.
Yet
it
has

always
been
a
part
of
the
idea
of
democracy
that
it

must
have
built-‐in
mechanisms
of
self-‐criEcism,
of

which
the
arts
can
be
one
among
others.”

Arthur
Danto,
“Value
in
an
Age
of
Chaos,”
in
Linda

Weintraub,
Art
on
the
Edge
and
Over,
p.
254-‐58.

Pain-ng

Jenny
Savile
one
of
the
YBAs
(“Young

BriEsh
ArEsts”)
Sensa1on,
the

Brooklyn
Museum’s
exhibiEon
of
the

Saatchi
collecEon

Realist
painter
in
the
tradiEon
of

Francis
Bacon
and
Lucien
Freud

Jenny
Savile,

Self
Portrait,
1991

Seavest
CollecEon

Jenny
Savile

Large-‐scale
nude
self-‐portraits
that

grotesquely
exaggerate
her
obesity

“What
is
this
thing,
the
body,
her

painEngs
ask,
when
it
is
stripped
bare,

denuded
of
personality
and
context,

this
thing
that
seems
so
much
a
part
of

us,
and
which
we
try
so
hard
to
look

aaer
and
yet
which
betrays
us,
decays

from
within,
and
which,
when
it
leaves

us,
takes
us
with
it?”

h_p://www.guardian.co.uk/artanddesign/2005/oct/
22/art.friezearcair2005

Jenny
Savile,
Plan,
1993

Source:

h_p://employees.oneonta.edu/farberas/arth/arth200/Body/saville.html

Jenny
Savile,
Torso
2,
2004
Jenny
Savile,
Branded,
1992

Saatchi
Gallery

Jenny
Savile

Series
of
photographs
recall
Ana

Medieta’s
body
prints
and
Yves
Klein’s

anthropometries

Jenny
Savile
and
Glen
Luchford,
Closed
Contact,
1995-‐1996

Source:

h_p://www.colecEva.tv/wordpress/?s=jenny+saville

Lisa
Yuskavage

Grotesque
distorEons
of
female

fantasy
ideal

Lisa
Yuskavage,
Wrist
Corsage,
1996

Museum
of
Modern
Art

Lisa
Yuskavage

Cross
between
fairytale,
children’s

toys,
and
pornography

Lisa
Yuskavage,
Nighty,
1994
Lisa
Yuskavage,
Day,
1994

h_p://www.theslideprojector.com/art6/ h_p://www.theslideprojector.com/art6/art6lecturepresentaEons/art6lecture13.html

art6lecturepresentaEons/art6lecture13.html

John
Currin

Hybrid
of
Old
Master
technique,

Norman
Rockwell
folksiness,
and

modern
(oaen
pornographic)
subjects

John
Currin,
Nice
n’
Easy,
1999

Source:

hDp://www.artnet.com/magazineus/news/artmarketwatch/
artmarketwatch11-‐12-‐08_detail.asp?picnum=6

Takashi
Murakami

Superflat
–
based
on
Japanese
anime

(animaEon)
and
manga
(comics)

“Mr
DOB,
a
hybrid
cartoon
figure,
which

is
parEally
based
on
a
stylised
portrait
of
the

arEst
himself
.
.
.
DOB
is
an
abbreviaEon
for

'why'
and
reflects
Murakami's
criEcal
aotude

towards
the
empEness
of
consumer
society.

Its
flatness
references
tradiEonal
Japanese

painEng
and
links
his
work
to
the
two-‐
dimensional
character
of
much
contemporary

media
imagery
and
computer
graphics.”

Queensland
Art
Gallery

Takashi
Murakami,
Mr
DOB
All
Stars
(Oh
My
the
Mr.
DOB),
1998

Rubell
Family
CollecEon

Takashi
Murakami

Also
makes
sculpture,
T-‐shirts,
toys,

keychains,
and
limited
ediEon
Louis

Vui_on
handbags

Takashi
Murakami
at
the
Geﬀen
Contemporary
at
MOCA

h_p://cubeme.com/blog/2007/11/07/takashi-‐murakami-‐retrospecEve-‐moca/

Takashi
Murakami

Recent
notoriety
fort
two
life-‐size

sculptures
called
My
Cowboy
and

Hiropon

“Hiropon''
is

.
.
.
caught
in
mid-‐skip

while
her
milk,
spurEng
from

enormous
breasts,
circles
her
body
like

a
jump
rope
.
.
.
''My
Lonesome

Cowboy,''
whose
semen
swirls
above

his
head
like
a
lasso,
is
simplisEcally

macho.”

Roberta
Smith

h_p://www.nyEmes.com/1999/02/05/arts/art-‐in-‐
review-‐takashi-‐murakami.html

Takashi
Murakami
at
the
Geﬀen
Contemporary
at
MOCA

h_p://cubeme.com/blog/2007/11/07/takashi-‐murakami-‐retrospecEve-‐moca/

Takashi
Murakami

In
2008
Lonesome
Cowboy
sold
for

$15.2
million
dollars

Takashi
Murakami,
Lonesome
Cowboy,
1998

Image
source:

h_p://design-‐style.org/2010/11/11/sexuality-‐and-‐transcendence/

Sculpture

MarEn
Puryear
–
Postminimalist

preoccupaEon
with
materials
and

process

"Mr.
Puryear
is
a
formalist
in
a
Eme

when
that
is
something
of
a
dirty

word.”

Roberta
Smith

MarEn
Puryear
retrospecEve
at
MOMA

Image
source:

h_p://www.nyEmes.com/slideshow/2007/11/01/arts/1102-‐PURY_2.html

Sculpture

His
works
evoke
African
tribal
craas

and
ritual
objects

"A
mysterious
seducEve
blackness

permeates
Mr.
Puryear's
work,
as
seen

in
"Confessional"
(1996-‐2000),
a

monolith
made
of
wire
mesh,
tar
and

various
woods.”

Roberta
Smith

MarEn
Puryear
retrospecEve
at
MOMA

Image
source:

h_p://www.nyEmes.com/slideshow/2007/11/01/arts/1102-‐PURY_2.html

David
Hammons

Works
appear
“formalist,”
but
reveal

deeper
commentary
about
race

“Rock
Head,
is
a
smooth,
elongated

oval
boulder
on
a
metal
stand
in
a

Perspex
box.
Hair
swept
from
a
Harlem

barbershop
ﬂoor
has
been
glued
on
to

the
top
of
the
rock,
then
given
a

professional
clip
and
snazzy
razor-‐cut

by
the
barber
himself.”

h_p://www.guardian.co.uk/culture/2002/oct/05/
artsfeatures

David
Hammons,
Rock
Head,
2005

Museum
of
Modern
Art

David
Hammons,
Un1tled,
1992

Whitney
Museum

David
Hammons,
UnEtled,
(1989)

Glass
wine
bo_les
and
silicon
glue

Sculpture

Anish
Kapoor
–
BriEsh
sculptor
of

Indian
descent

Anish
Kapoor,
Un1tled,
2007

Metropolitan
Museum

Anish
Kapoor,
As
if
to
celebrate,
I
discovered
a
mountain
blooming
with
red
ﬂowers,
1981

Tate
Gallery

Anish
Kapoor,
Marsyas,
2002
Turbine
Hall,
Tate
Modern

Source:

h_p://www.anishkapoor.com/works/gallery/2002marsyas/index.htm

Anish
Kapoor,
Cloudgate,
2004,
Millenium
Park,
Chicago

h_p://www.anishkapoor.com/works/gallery/2004cloudgate/index.htm

Rachel
Whiteread

Got
her
start
with
a
concrete
cast
she

made
of
an
east-‐end
London
house

scheduled
for
demoliEon

Sculptures
of
negaEve
space
–

permanent
monuments
to
absence

Rachel
Whiteread,
Un1tled
(House)

1993

Rachel
Whiteread

Judenplatz
Holocaust
Memorial,

Austria:

outside
is
lined
with
cast

library
shelves
turned
inside
out

“The
shelves
of
the
memorial
appear

to
hold
endless
copies
of
the
same

ediEon,
which
stand
for
the
vast

number
of
the
vicEms,
as
well
as
the

concept
of
Jews
as
"People
of
the

Book."
The
double
doors
are
cast
with

the
panels
inside
out,
and
have
no

doorknobs
or
handles.”

h_p://en.wikipedia.org/wiki/
Judenplatz_Holocaust_Memorial

Rachel
Whiteread,
Judenplatz
Holocaust
Memorial
(The
Naemless
Library),
2000

memorial
to
the
65,000
murdered
Austrian
Jews
in
the
Holocaust
at
Judenplatz
in
Vienna

Source:

h_p://en.wikipedia.org/wiki/Judenplatz_Holocaust_Memorial

Shadow
of
a
passerby
at
the
memorial.

Source:

h_p://en.wikipedia.org/wiki/Judenplatz_Holocaust_Memorial

Rachel
Whitread,
Water
Tower,
1998

Museum
of
Modern
Art

Janine
Antoni

Minimalist
cubes
of
chocolate
and
lard,

bi_en
and
chewed
by
the
arEst

Janine
Antoni,
Gnaw,
1992

Museum
of
Modern
Art

Janine
Antoni,
Gnaw,
1992

Source:

h_p://www.theslideprojector.com/art1/art1twoday/art1lecture28.html

Janine
Antoni

Used
mouthfuls
to
mold
heart-‐shaped

chocolate
boxes
and
lipsEcks

Janine
Antoni,
Gnaw,
1992

Museum
of
Modern
Art

Janine
Antoni

Portrait
busts
of
the
arEst
molded
with

chocolate
and
soap

Features
erased
by
process
of
licking

and
washing

Janine
Antoni,
Lick
and
Lather,
1993

Brooklyn
Museum

Ron
Mueck

BriEsh
YBA

Super-‐realisEc
resin

sculptures
that
play

with
scale

Ron
Mueck,
Dead
Dad,
1996-‐97

Source:

h_p://www.saatchi-‐gallery.co.uk/blogon/art_news/space_is_the_place_by__paul_farley/5786

Ron
Mueck,
Two
Women,
2005

hDp://www.melbourneplaces.com/melbourne/ron-‐mueck’s-‐sculptures-‐at-‐the-‐ngv-‐a-‐confron1ng-‐and-‐haun1ng-‐experience/

Ron
Mueck,
A
Girl,
2006

Source:


Maurizio
CaDelan

Gained
internaEonal
notoriety
for
his

sculpture
of
the
Pope
struck
down
by
a

meteor
at
the
Royal
Academy

The
work
sold
at
ChrisEes
for
3
million

Maurizio
Ca_elan,
La
Nona
Ora
(The
Ninth
Hour),
1999

Source:

h_p://www.terminartors.com/artworkproﬁle/Ca_elan_Maurizio-‐La_Nona_Ora_The_Ninth_Hour

Jake
and
Dinos
Chapman

BriEsh
YBA
collaboraEve

team
of
brothers

Outrageous
sculptures
of

mannequins
of
mutant

adolescent
girls

Jake
and
Dinos
Chapman,
Tragic
Anatomies:
Sad
Doggy,
1996

Fibreglass,
resin,
paint

Saatchi
Gallery

Robert
Gober

Makes
the
ordinary
seem

uncomfortably
strange

“These
works
oaen
evoke
the

paradoxical
phenomenon
that

Sigmund
Freud
called
"the
uncanny"—
something
ordinary
that,
through
even

a
slight
disorientaEon,
reveals
a
hidden

strangeness,
bringing
out
long-‐
forgo_en
fears
and
collapsing
long-‐
established
certainEes.”

Museum
of
Modern
Art

Robert
Gober,
1tled.
(1989-‐90.)
Wax,
coDon,
leather,
human
hair,
and
wood

Museum
of
Modern
Art

Photography

Legacy
of
the
pictures
generaEon

conEnues
to
have
an
impact
on

contemporary
arEsts

Man
Ray,
Marcel
Duchamp
as
Rrose
Selavy,
1921
Yasumasa
Morimura
Doublannage
(Marcel),
1988

h_p://www.artnet.com/usernet/awc/awc_thumbnail.asp?
aid=424262577&gid=424262577&works_of_art=1&cid=75405

Photography

Japanese
arEst
Yasumasa
Morimura

uses
Cindy
Sherman’s
“dress-‐up”

strategies
to
insert
himself
into
iconic

female
roles
from
art
history
and
the

media

Yasumasa
Morimura
Self
Portrait
Acer
Marilyn,
1996

hDp://www.saatchi-‐gallery.co.uk/ar1sts/yasumasa_morimura.htm

Photography

Yasumasa
Morimura
Portrait
(Futago),
1988;
photograph;
chromogenic
print
with
acrylic
paint

and
gel
medium

SFMOMA

Yasumasa
Morimura
An
Inner
Dialogue
with

Frida
Kahlo
(Hand
Shaped
Earring),
2001

Brooklyn
Museum

Carrie
Mae
Weems

Photo-‐essay
involving
re-‐photography

of
archival
photos

J.T.
Zealy.
Delia,
American
born,
daughter
of
Renty,

Congo.

1850.

Daguerreotype.
Carrie
Mae
Weems,
From
Here
I
Saw
What
Happened
and
I
Cried,
1995

h_p://preserve.harvard.edu/exhibits/ Museum
of
Modern
Art

daguerreotype/images/woman.jpg

Carrie
Mae
Weems,
From
Here
I
Saw
What
Happened
and
I
Cried,
1995

h_p://www.30americans.com/ArEst/Carrie_Mae_Weems/Weems2.jpg

New
Approaches
to

Photography

Canadian
arEst
Jeff
Wall
uses

photography
to
create
large
scale

arEficial
realiEes
modeled
on
high
art

Jeff
Wall,
A
Sudden
Gust
of
Wind
(Acer
Hokusai),
1993

Tate
Gallery

“Amateur
actors
play
the
odd
assortment
of
rural
and
city
characters,
surprised
by
the
forces
of
nature.
It
required

over
100
photographs,
taken
over
the
course
of
more
than
a
year,
to
achieve
a
seamless
montage
that
gives
the

illusion
of
capturing
a
real
moment
in
Eme.”
Tate
Gallery

Andreas
Gursky

German
photographer

Large-‐scale
images

that
evoke
the

dehumanizaEon
of

high
tech
industry
and

global
market

economy

Andreus
Gusky,
99
Cent,
1999

Source:

h_p://asuartmuseum.asu.edu/2001/gursky/

Andreus
Gursky,

Chicago
Board
of
Trade,
1999

Rhine
II
by
Andreas
Gursky
sold
for
$4.3
million
at
Chris-e's
in
New
York

Image
source:

h_p://www.freakingnews.com/Andreas-‐Gursky-‐s-‐Rhine-‐II-‐Pics-‐102730.asp

Postmodernism

Hybridity

“For
arEsts
today,
the
choice
of
materials

and
media
for
creaEng
art
is
wide
open.

Some
arEsts
conEnue
to
use
tradiEonal

media
such
as
paint,
clay,
or
bronze,
but

others
have
selected
new
or
unusual

materials
for
their
art,
such
as
industrial
or

recycled
materials,
and
newer
technologies

such
as
photography,
video,
or
digital
media

oﬀer
arEsts
even
more
ways
to
express

themselves.
Many
arEsts
working
today

incorporate
more
than
material
or

technique
in
ways
that
create
hybrid
art

forms.
CombinaEons
of
sEll
image,
moving

image,
sound,
digital
media,
and
found

objects
can
create
new
hybrid
art
forms

that
are
beyond
what
tradiEonal
arEsts

have
ever
imagined.”

hDp://schools.walkerart.org/arDoday/
index.wac?id=2377

Cia
Guo-‐Qiang,
Innoportune:

Stage
One,
2004

Sea_le
Art
Museum
(as
seen
in
Guggenheim
installaEon,
I
Want
to
Believe

Damien
Hirst

Damien
Hirst,
one
of
the
stars
of
the

Brooklyn
SensaEons
show
featuring

the
YBAs
(“Young
BriEsh
ArEsts”)
in

the
Charles
Saatchi
collecEon

Damien
Hirst
with
For
the
Love
of
God,
a
plaEnum
skull
covered
with
8,601
diamonds
–
purported
to
be

the
most
expensive
work
of
art
ever
made
-‐
£15
million
producEon
costs
and
a
£50
million
price
tag

Image
source:

h_p://www.getkempt.com/tag/damienhirst

Damien
Hirst

Works
involving
dead
animals

preserved
in
formaldehyde

“Dead
animals
are
frequently
used

in
Hirst’s
installaEons,
forcing

viewers
to
consider
their
own
and

society’s
aotudes
to
death.”

Museum
of
Modern
Art

Damien
Hirst,

Away
from
the
Flock,
1994

NaEonal
Galleries
of
Scotland

Damien
Hirst

Life
cycle:

maggots

hatch
and
feed
on

dead
cow’s
head

Damien
Hirst,
A
Thousand
Years,
1990

Steel,
glass,
ﬂies,
maggots,
MDF,
insect-‐o-‐cutor,
cow's
head,
sugar,
water

Charles
Saatchi

Image
source:

h_p://www.artchive.com/artchive/h/hirst/hirst_thousand.jpg.html

Interview
on
YouTube:

h_p://www.youtube.com/watch?v=0rESmxFXAd8

Image
source:

h_p://www.ﬂickr.com/photos/wurzeltod/210464828/

Damien
Hirst

Commissioned
by

Charles
Saatchi
in
1991

for
£50,000

In
2004
it
was
sold
for

£7
million

“In
keeping
with
the

piece’s
Etle,
the
shark
is

simultaneously
life
and

death
incarnate
in
a
way

you
don’t
quite
grasp

unEl
you
see
it,

suspended
and
silent,
in

its
tank.”

h_p://www.nyEmes.com/
2007/10/16/arts/design/
16muse.html

Damien
Hirst,
The
Physical
Impossibility
of
Death
in
the
Mind
of

Someone
Living,
1991

On
display
at
Metropolitan
Museum
2007-‐2010

Sarah
Lucas

BriEsh
YBA

Uses
common
materials
to
evoke

pointed
comments
on
gender

Sarah
Lucas,
Au
Naturel,
1994

Saatchi
CollecEon

Sarah
Lucas,
Bunny
Gets
Snoockered,
1997

Source:

hDp://ar1ntelligence.net/review/?p=65

Sarah
Lucas,
Bunny
Gets
Snoockered
#10,
1997

Source:

hDp://www.museum-‐joanneum.at/de/presse/projekte_4/thyssen-‐
bornemisza_art_contemporary_sammlung_als_aleph

Mike
Kelley,
More
Love
Hours
Than
Can
Ever
be
Repaid,
and
The
Wages
of
Sin,
1987

Whitney
Museum

Tracy
Emin

Turner
prize
winner
and
tabloid
star

Orlando
Bloom
gets
friendly
with
Tracey
Emin
at
he
launch
of
her
latest
exhibiEonRead

more:

h_p://www.dailymail.co.uk/tvshowbiz/arEcle-‐1041390/Steady-‐Orlando-‐-‐art-‐loving-‐actor-‐
gets-‐grips-‐Tracey-‐Emin-‐exhibiEon.html#ixzz17vnAJzaK

Tracy
Emin

Work
in
the
SensaEons
exhibiEon
was

a
tent,
with
the
names
of
everyone
she

ever
slept
with
on
the
inside

Tracy
Emin,
Everyone
I
have
Ever
Slept
With.
1963-‐1975,
1997

Source:

h_p://images.artnet.com/artwork_images_424046260_129602_tracey-‐emin.jpg

Tracy
Emin,

My
Bed,
1998

Saatchi
CollecEon

Installa-on
Art

Synthesis
of
painEng,

sculpture,
architecture

Walk-‐in
environments

Judy
Pfaﬀ,
#D,
installaEon
at
Holly
Solomon
Gallery,
1983

h_p://www.judypfaﬀ.org/gallery/installaEons?page=4

Installa-on
Art

Judy
Pfaff
and
Jessica

Stockholder
–

formalist
concerns

Walk-‐in
painEngs;

focus
on
color,
shape,

form

Jessica
Stockholder,
Skin
Toned
Garden
Mapping,
1991InstallaEon
at
the
Renaissance
Society,
Chicago,
IllinoisPaint,
red
carpet,
2
x
4s,

roofing
tar,
refrigerator
doors,
hardware,
yellow
bug
lights
and
fixtures,
cloth,
vinyl
composiEon
floor
Eles,
concrete
and
Enfoil,
3140

square
feet
overall

h_p://www.pbs.org/art21/slideshow/popup.php?slide=807

Ilya
Kabakov

Emmigrated
from
Russia
aaer
the

collapse
of
the
Soviet
Union

InstallaEons
create
complex
narraEve

situaEons

“The
lonely
inhabitant
of
the
room,
as

becomes
clear
from
the
story
his
neighbor

tells,
was
obsessed
by
a
dream
of
a
lonely

ﬂight
into
space
.
.
.
.”

Text
accompanying
Ilya
Kabakov’s
The
Man
Who

Flew
Into
Space
from
His
Apartment,
1981-‐88

Ilya
Kabakov,
The
Man
Who
Flew
Into
Space
from
His
Apartment,
1981-‐88

The
Starn
Twins

Many
installaEons
are
site

speciﬁc,
as
in
Mike
and
Doug

Starn’s
big
bamboo
on
the

roof
of
the
Met

The
work
no
longer
exists

aaer
the
exhibiEon
closes

Doug
works
on
his
Big
Bambu
structure
on
the
Metropolitan
Museum
of
Arts'
Iris
and
B.
Gerald
Cantor

Roof
Garden
June
18,
2010
in
New
York
City

Source:

h_p://www.life.com/image/102207341

Kara
Walker

Uses
19th
century
format

of
the
silhoue_e
in
wall-‐
size
installaEons
to
tell

the
epic
story
of
black

slavery

Kara
Walker.

Detail
from
Gone,
An
Historical
Romance
of
a
Civil
War
As
It
Occurred

Between
the
Dusky
Thighs
of
One
Young
Negress
and
Her
Heart.

1994

InstallaEon
view
at
the
Walker
Art
Center,
Courtesy
of
Sikkema
Jenkins
&
Co.

Source:

h_p://www.artnet.com/magazineus/features/saltz/saltz11-‐13-‐07_detail.asp?picnum=1

Kara
Walker

“From
lea
to
right,
a
genteel

white
couple
bends
to
kiss;
a

pickaninny
offers
a
headless

chicken
to
a
topless
black
girl

who
floats
on
her
back
in

water;
a
severed
head
of
a

white
man
looks
at
a
young

black
girl
on
her
knees

performing
fellaEo
on
a
white

boy;
a
black
girl
lias
her
leg
as

two
babies
drop
out
of
her;
a

white
man
performs

analingus
on
a
black
servant.

Rising
above
this
ro_en
bog

of
cruelty
and
desire
is
a
full

moon
and
a
black
figure
with

a
grotesquely
swollen
penis.”

Jerry
Salz
Kara
Walker.

Detail
from
Gone,
An
Historical
Romance
of
a
Civil
War
As
It
Occurred

h_p://www.artnet.com/magazineus/ Between
the
Dusky
Thighs
of
One
Young
Negress
and
Her
Heart.

1994

features/saltz/saltz11-‐13-‐07.asp
InstallaEon
view
at
the
Walker
Art
Center,
Courtesy
of
Sikkema
Jenkins
&
Co.

Source:

h_p://www.artnet.com/magazineus/features/saltz/saltz11-‐13-‐07_detail.asp?picnum=1

Kara
Walker,
Slavery!

Slavery!

1997

Source:

h_p://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/images/201.699.jpg

Fred
Wilson

ArEst
Fred
Wilson
creates
art
by

curaEng
exhibiEons

Fred
Wilson

Source:

h_p://nashermuseumblogs.org/?p=1080

Fred
Wilson

1992
“curatorial”
work
juxtaposed

luxury
items
from
the
museum’s

collecEon
with
arEfacts
that
point
to

the
hidden
history
of
slavery

Fred
Wilson,
"Mining
the
Museum"

Maryland
Historical
Society,
1992

Fred
Wilson

Guarded
Condi1on

consists
of
4
headless

black
male
ﬁgures
in

various
types
of
uniforms

Their
“invisibility”
points

to
the
way
persistent

stereotypes
erase
the

achievements
of
African

American
men

Fred
Wilson,
Guarded
View,
1991.
Wood,
paint,
steel,
and
fabric,
dimensions
variable

Whitney
Museum
of
American
Art

Fred
Wilson

In
a
recent
exhibiEon,

this
work
was
juxtaposed

with
a
replica
of
the

Demoiselles
d’Avignon,
to

which
was
added
a
real

African
mask

Fred
Wilson:
Objects
and
InstallaEons
1979–2000,
2002

Center
for
Art,
Design
and
Visual
Culture,
UMBC

Ann
Hamilton

Ann
Hamilton’s
installaEons
combine

performance,
photography,
video,

texEles,
and
sculpture

"Unlike
an
object,
which
we
are
very

comfortable
standing
outside
of
and

looking
at,
to
work
in
installaEon
is
to

work
in
relaEon
to
a
parEcular
place

and
all
of
the
conﬂuences
and

complexiEes
of
whatever
it
is...And
so,

as
a
viewer,
to
come
in,
it's
the

experience
the
minute
you
cross
the

threshold:
it's
the
smells,
it's
the

sounds,
it's
the
temperature...”

Ann
Hamilton

Ann
Hamilton,
Ghost
.
.
.
a
border
act,
2000

InstallaEon
at
the
former
Ix
Factory,
Charlo_esville,
Virginia.
Silk
organza,
tables,
video
projecEon,
and

sound,
dimensions
variable.
Photo
by
Tom
Cogill

Ann
Hamilton

This
piece
incorporates
the
history
of

the
building
(a
former
bakery)

Entrance
li_ered
with
wine-‐soaked

rags;
wall
stacked
with
bed
linens;

arEst
engages
in
repeEEve
task
of

molding
bread
dough
to
her
mouth

and
placing
in
a
wicker
casket

“The
piece
referred
to
the
larger
social

history
of
the
neighborhood
.
.
.
SoHo

was
an
industrial
neighborhood
and

home
to
New
York's
thriving
clothing

industry.
This
industry
depended,

however,
on
an
easily
exploitable

workforce
of
immigrants,
woman,
and

children
.
.
.
The
meditaEve,
reverent
Ann
Hamilton,
Maledic1on,
Louver
Gallery,
New
York
December
7,
1991
-‐
January
4,
1992

acEons
of
the
arEst
are
comparable
to
hDp://www.pbs.org/art21/ar1sts/hamilton/card2.html

a
form
of
prayer,
while
the
bread
and

wine
have
associaEons
with
religion

and
the
act
of
communion”

PBS
Art:21

Ann
Hamilton

“For
this
piece,
the
arEst
worked
with

engineers
to
create
walls
that
siaed
red

pigment
down
the
sides
and
onto
floor
below.

There
was
an
inEmate
and
site-‐specific
play

between
the
bleeding
walls
and
the

Jeffersonian
building,
a
type
of
architecture

Eed
to
democracy,
but
also
to
the
emoEonal

pain
of
slavery.
The
walls
were
covered
with

large
Braille
dots,
which
captured
the
pigment

that
trickled
down,
and
in
the
process
the

Braille
dots
were
stained
with
the
red-‐blood

powder”

h_p://artandtech.osu.edu/551/rinaldo/
assignment/invenEon.html

Ann
Hamilton,
Maledic1on,
Myein,
1999
Venice
Bieniale

Mona
Hatoum

PalesEnian
born
arEst
living
in
exile
in

the
UK

Metaphoric
objects
–
transform
the

commonplace
into
psychologically

charged
dramas

“Mona
Hatoum's
.
.
.
Interior

Landscape
[is]
.
.
.
an
austere
bedroom

that
"imagines
the
conﬂict
between

the
dreams
and
aspiraEons
of
a

PalesEnian
individual
juxtaposed
with

the
harsh
reality
they
have
to
face.””

h_p://universes-‐in-‐universe.org/eng/
nafas/arEcles/2009/mona_hatoum

Mona
Hatoum,
Interior
Landscape,
2008

Steel
bed,
pillow,
capelli
human
hair,
table,
cardboard
tray,
cut-‐up
map,
wire
hanger

h_p://brayhamcontemporaryart.blogspot.com/2009/08/mona-‐hatoums-‐interior-‐landscapes-‐at.html

Mona
Hatoum

PalesEnian
born
arEst
living
in
exile
in

the
UK

Metaphoric
objects
–
transform
the

commonplace
into
psychologically

charged
dramas

Mona
Hatoum,
Interior
Landscape,
2008

Steel
bed,
pillow,
capelli
human
hair,
table,
cardboard
tray,
cut-‐up
map,
wire
hanger


Mona
Hatoum

Barbed
wire
and
other
materials
that

suggest
physical
restraint,
danger,
or

torture,
are
common
in
her
work

Mona
Hatoum,
Grater
Divide,
2002
Mona
Hatoum,
Impenetrable,
2009

Museum
of
Fine
Arts
Boston

Mona
Hatoum

InstallaEons
evoke
sensaEons
of

insEtuEonal
authority,
torture,
and

imprisonment

Mona
Hatoum,
Light
Sentence,
1992

Metropolitan
Museum

Performance

Performance
conEnues
to
engage

contemporary
arEsts

ArEst
Marina
Abramovic
(L)
performs
during
the
"Marina
Abramovic:
The
ArEst
is
Present"
exhibiEon

opening
night
party
at
The
Museum
of
Modern
Art
on
March
9,
2010
in
New
York
City

h_p://www.zimbio.com/pictures/upoNbvTpFo9/MoMA+Celebrates+Marina+Abramovic+ArEst+Present

Janine
Antoni

Loving
Care
–
feminist
update
on

“acEon
painEng”

Janine
Antoni,
Loving
Care,
1993

Brooklyn
Museum

Performance

Twenty
professional
models
on

“display”
in
the
Guggenheim
Museum

“All
wore
full
body
makeup
to
be_er

fulﬁll
the
air-‐brushed
perfecEon

demanded
by
contemporary
paradigms

of
beauty
.
.
.
.For
two
and
a
half
hours,

under
the
glare
of
a
helium
balloon

spotlight,
they
displayed
the

unachievable,
media-‐constructed

standards
by
which
legions
of

impressionable
women
regularly

measure
their
self-‐esteem.”

Linda
Weintraub

Vanessa
Beecroa,
Show,
1998

Live
Performance,
Guggenheim
Museum

Kate
Gilmore

“Walk
the
Walk
by
arEst
Kate
Gilmore
is
a

dynamic
installaEon
acEvated
by
a
group
of

seven
women
who
will
walk,
shuﬄe,
and
stomp

on
the
roof
of
an
eight-‐foot-‐high
cubic
structure.

Clothed
in
simple
yellow
dresses
and
beige

pumps,
Gilmore's
performers
transform
the

workday
into
a
visual
spectacle
and
dissonant

symphony.
Once
inside
the
structure,
visitors

will
hear
the
reverberaEons
of
the
stomping
feet

overhead.

Drawing
a_enEon
to
the
vast
number
of
women

who
work
each
day
in
the
City,
Gilmore's

installaEon
quesEons
noEons
of
work,
its

limitaEons
and
possibiliEes,
and
makes
us
aware

of
assumpEons
about
appropriate
behavior
and

the
limits
of
self
expression.”

h_p://www.bryantpark.org/plan-‐your-‐visit/
calendar.html?evt=1720

Kate
Gilmore,
Walk
the
Walk,
Bryant
Park,
2010

h_p://nyclovesnyc.blogspot.com/2010/05/performance-‐based-‐art-‐by-‐kate-‐gilmore.html

Performance

Tehching
Hsieh
–
one
year

performance
consisted
of
the
arEst

living
in
a
cage
in
his
studio
for
one

year

Tehching
Hsieh.
One
Year
Performance.
1978–79

Performance

“Hsieh
moved
from
a
year
of
solitary

conﬁnement
without
any
communicaEon,

to
a
year
in
which
he
punched
a
worker’s

Eme
clock
in
his
studio
on
the
hour
every

hour,
to
a
year
spent
living
without
any

shelter
on
the
streets,
to
a
year
in
which
he

was
Eed
closely
to
the
arEst
Linda
Montano

without
ever
touching
and,
lastly,
to
a
year

of
total
abstenEon
from
art
acEviEes
and

inﬂuences.”

h_p://mitpress.mit.edu/catalog/item/default.asp?
_ype=2&Ed=11674

Tehching
Hsieh,
One
Year
Performance
1980-‐1981

Source:

h_p://artscurriculum.guggenheim.org/lessons/thirdmind_L7.php

Performance

“In
1986
Hsieh
announced
that
he
would

spend
the
next
thirteen
years
making
art

but
not
showing
it
publicly.
This
ﬁnal

lifework—an
immense
act
of
self-‐
aﬃrmaEon
and
self-‐erasure—came
to
a

close
at
the
turn
of
the
millennium.”

h_p://mitpress.mit.edu/catalog/item/default.asp?
_ype=2&Ed=11674

Tehching
Hsieh.
Installa1on
at
MOMA,
2009

h_p://www.nyEmes.com/slideshow/2009/03/01/arts/20090301_HSIEH_SLIDESHOW_2.html

Video

Like
performance,
video
is
becoming

more
prominent
as
galleries
and

museums
adjust
to
methods
of

collecEng
and
display

h_p://www.guggenheim.org/new-‐york/exhibiEons/on-‐view/haunted-‐contemporary-‐
photography-‐video-‐performance

David
Hammon

Video
of
the
arEst
kicking
a
bucket

down
the
street

“The
video’s
rough,
grainy
texture

communicates
the
harsh
reality
of
life
on

the
streets
and

.
.
.

the
acEon
of
kicking

the
bucket
suggests
the
man’s
potenEally

unfortunate
fate.
At
once
jarring
and

poeEc,
Hammons’s
simple
gesture

becomes
an
act
of
symphonic
proporEon,

a
compelling
metaphor
for
one
kind
of

contemporary
black
urban
experience.”

hDp://www.ar1c.edu/aic/collec1ons/artwork/185068

David
Hammons,
Phat
Free
(Kick
the
Bucket),
1995/99

Art
Ins1tute
of
Chicago

Paul
McCarthy

Uses
video
to
record
performances

that
recall
the
extreme
acEons
of
the

Viennese
acEonists

“The
1974
video
"Hot
Dog"
shoots
to
the

heart
of
the
adolescent
"gross-‐out"
as

McCarthy
tapes
his
penis
into
a
hot
dog

bun,
then
packs
his
pie
hole
full
of
franks

and
wraps
himself
in
gauze.
Another
piece

from
the
70s
called
"Sailor's
Meat"
ﬁnds

the
arEst
dressed
as
a
blonde
hooker

smeared
with
blood
and
"knowing"
a
pile

of
raw
meat.”

Paul
McCarthy
@
Art
+
Culture

Paul
McCarthy,
Hot
Dog,
1974

h_p://www.themoorespace.org/oldmoorespace/cefm/cefm.html

William
Kentridge

Uses
animated
drawings
to
construct

powerful
epics
that
address
social

issues
such
as
Apartheid
in
South

Africa

William
Kentridge

Image
source:

hDp://folksonomy.org.uk/?keyword=10

h_p://www.youtube.com/watch?v=q1sPLXMg1BQ

Tony
Oursler

Videos
projected
onto
surfaces

Tony
Oursler,
Rubio,
(Performer
Vanessa
Carreras),
1994

Source:

h_p://www.artnet.com/artwork/426043987/367/tony-‐oursler-‐rubio-‐performer-‐vanessa-‐
carreras.html

Tony
Oursler,
Troubler,
1996

Source:

h_p://www.artnet.com/artwork/425982917/425931877/troubler.html

Tony
Oursler,
Rubio,
(Performer
Vanessa
Carreras),
1994

Source:

h_p://www.tonyoursler.com/individual_work_slideshow.php?allTextFlg=true&navItem=work&startDateStr=Feb.
%206,%202010&subSecEon=InstallaEons&Etle=Number%207,%20Plus%20or%20Minus%202&workId=8

Tony
Oursler,
Number
7,
Plus
or
Minus
2

Source:

h_p://www.tonyoursler.com/individual_work_slideshow.php?navItem=work&workId=8&startDateStr=Feb.
%206,%202010&subSecEon=InstallaEons&allTextFlg=false&Etle=Number%207,%20Plus%20or%20Minus%202

Video

Bill
Viola
–
video
installaEons
that

invoke
tradiEonal
religious
themes
on

a
grand
operaEc
scale

Bill
Viola,
The
Crossing,
1996

Guggenheim
Museum

“The
violent
annihilaEon
of
a
human

Video

figure
by
the
opposing
natural
forces
of

fire
and
water
is
projected

simultaneously
on
the
front
and
back

of
a
double-‐sided
screen.
One
one
side,

a
man
approaches
from
a
long
distance

in
slow
moEon.
He
finally
stops
and

stands
sEll.
A
small
flame
appears
at

his
feet
and
quickly
spreads
to

consume
his
enEre
body.
At
the
same

Eme
on
the
other
side,
the
man

approaches,
stops,
and
a
trickle
of

water
begins
pouring
down
on
his
head

from
above.
It
soon
becomes
a
raging

torrent
that
completely
inundates
his

body.
When
all
finally
subsides,
he
has

completely
disappeared
—
small

flickering
flames
on
a
burnt
floor
and
a

few
lingering
drops
of
water
falling

from
above
are
all
that
remain.”

Bill
Vila,
The
Crossing,
1996

h_p://www.sfmoma.org/media/features/
viola/BV01.html

Bill
Viola

Figures
swimming
upside
down,
dria
in

and
out
of
frames,
and
are
reﬂected
in

polished
slabs
of
granite

“The
thirteenth-‐century
Persian
poet

Jahal
al-‐Din
Rumi,
a
favorite
author
of

the
arEst,
proclaimed:
“With
every

moment
a
world
is
born
and
dies.
And

know
that
for
you,
with
every
moment

comes
death
and
renewal.”
Likewise,
in

StaEons
there
is
no
ending
or

beginning—every
instant
is
a

meditaEon
on
the
conEnual
cycles
of

life,
death,
and
rebirth.”

Museum
of
Modern
Art

Bill
Viila,
Sta1ons,
2007

Museum
of
Modern
Art

Video

Douglas
Gordon
–
Scoosh

24
Hour
Psycho
–
Alfred
Hitchcock
ﬁlm

in
slow
moEon

Douglas
Gordon,
24
Hour
Psycho,
1993

Image
source:

h_p://www.naEonalgalleries.org/whatson/exhibiEon/5:368/4366/4419

Video

Doug
Aitken
–
walk-‐in
video

installaEons

“The
blinking
traﬃc
lights,
panning

video
cameras,
and
automaEc
car

windows
create
an
environment
of

jerky,
acceleraEng

.
.
.
Electric
Earth
is

itself
an
immersive
landscape
of

moEon
and
fractured
informaEon,

which
viewers
are
meant
to
experience

as
much
as
to
watch.”

h_p://ﬁndarEcles.com/p/arEcles/mi_m0268/
is_9_38/ai_65649374/

Doug
Aitken,
Electric
Earth,

1999

hDp://www.medienkunstnetz.de/works/electric-‐earth/

h_p://www.youtube.com/watch?v=LSziysd2Duk

Video

Shirin
Neshat
–
Iranian
born

Islamic
RevoluEon
1979

Trilogy
of
split-‐screen
video

installaEons-‐-‐Turbulent
(1998),

Rapture
(1999)
and
Fervor
(2000)-‐-‐

meditaEons
on
the
male/female

dynamic
in
Islamic
socieEes

Shirin
Neshat,
Turbulent,
1998

h_p://www.youtube.com/watch?v=VCAssCuOGls

Globalism

Artworld
is
increasingly
global

“Zhang
(in
his
performance
piece
To

Raise
the
Water
Level
in
a
Fishpond)

invited
people
who
had
lost
their
jobs

in
a
recent
ruthless
modernizaEon
of

Chinese
industry
to
stand
in
a
pond,

raising
the
level
of
the
water
–
a
poeEc

asserEon
of
their
social
presence.”

Jonathan
Fineberg,
p.
485-‐6

Zhang
Huan
To
Raise
the
Water
Level
in
a
Fishpond
1997

Image
source:

hDp://www.canadianart.ca/online/see-‐it/2008/07/10/zhang-‐huan/

Yinka
Shonibare

Nigerian
arEst

Figures
dressed
in
costumes
evoking

the
elite
of
the
age
of
colonialism
–
but

the
fabrics
“read”
as
African

Discovered
that
so-‐called
“African

fabrics”
were
actually
invented
in

Holland

Becomes
a
metaphor
for
the

“invenEon”
of
concepts
like
racial

idenEty

Yinka
Shnibare,
Victorian
Couple,
1999

Norton
Museum
of
Art

Globalism

Recent
retrospecEve
of
Cai
Guo-‐Qiang

at
the
Guggenheim
reﬂects
the

increasing
globalizaEon
of
the
art

world

Cai
Guo-‐Qiang,
Inopportune:
Stage
One,
2004

Image
source:

h_p://www.sawf.org/bin/Eps.dll/geop?Epid=13168&arch=0&user=Sawf
+Visuals&class=Visuals&pn=Visuals

Post
Human

Many
contemporary
arEsts
interested

in
the
concept
of
the
cyborg
–

morphing
of
the
human
ﬁgure
into

a

futurisEc
blend
of
human/machine

Stelarc

Source:

h_p://www.maska.si/en/?redirect=330

Post
Human

Ma_hew
Barney
–
Cremaster
Cycle

Five
feature-‐length
ﬁlms
created

1994-‐2002

Ma_hew
Barney
-‐
Cremaster
4,
The
Loughton
Candidate

Post
Human

Cremaster -- muscle that controls the
contraction and relaxation of the
testes in response to different physical
or psychological stimuli like increased
temperature or fear

Cycle reflects on the period during
early development of the fetus when
gender has not been decided,
a moment of pure potential for Barney

In the first several weeks of life, the
fetus has no anatomical or hormonal
sex (sex can only be determined by
genes)

About the 10th week, external
genitalia begins to differentiate
About 15th week, first spermatognia
and ovarian follicles form
28th week, testes descend out of the
body cavity

http://www.theslideprojector.com/art1/
art1onedaylecturepresentations/lecture1-15.html
Cremaster
muscle
in
red

h_p://commons.wikimedia.org/wiki/Image:Musculus_cremaster.png

Post
Human

“Barney
–
like
many
other
arEsts
of
the

1990s
–
suggests
a
new,
post-‐human

world
in
which
the
body
itself
is

understood
as
a
public
sphere.

Here

the
relaxaEon
and
even
suspension
of

sharp
diﬀerenEaEon
between
genders,

sexualiEes,
and
ethniciEes
may
oﬀer
an

alternaEve
to
a
world
that
has
been

hemmed
in
by
the
commercializaEon

of
virtually
every
act,
thought,
and

emoEon.”

David
Joselit

Ma_hew
Barney
-‐
Cremaster
4,
The
Loughton
Candidate

Post
Human

Barney’s
aestheEc
speaks
the
language

of
a
new
technologically
saavy

generaEon
.
.
.
.
.

h_p://www.youtube.com/watch?v=pgk360PZJ7w

Andrew
Huang,
Doll
Face,

h_p://www.youtube.com/watch?v=zl6hNj1uOkY

h_p://www.youtube.com/watch?v=EjAoBKagWQA

Postmodernism

What
uniﬁes
postmodern
art,
if
anything,
is

a
reacEon
to
modernism—at
Emes

destroying
or
debunking
tradiEonally
held

rules
or
canons
of
modern
art;
at
other

Emes
copying
masterworks
of
the
past
in

new
ways.

h_p://schools.walkerart.org/ar_oday/
index.wac?id=2362

h_p://schools.walkerart.org/ar_oday/index.wac?id=2362

Postmodernism

“Instead
of
pure
form
and
color,
the
values

of
criEcism,
analysis,
cogniEon,
social

commentary,
wit,
humor,
surprise
and

reversal
now
prevail.”

Arthur
Danto,
“Value
in
an
Age
of
Chaos,”
in

Linda
Weintraub,
Art
on
the
Edge
and
Over,

p.
254-‐58.

Postmodernism

Formalist
principles
no
longer
apply

For
much
contemporary
art
or
art
being

made
today,
the
content
or
meaning
is

more
important
than
the
materials
or
forms

used
to
make
it
.
.
.
.
interested
in
engaging

viewers
conceptually
through
ideas
and

issues.
The
elements
of
art,
while
sEll

present
at
Emes,
are
oaen
not
adequate
to

understanding
the
meaning
of

contemporary
art.

h_p://schools.walkerart.org/ar_oday/
index.wac?id=2362

Image
source:

h_p://ihateblogs123.blogspot.com/2009/03/elements-‐and-‐principles-‐of-‐design.html

Postmodernism

1.  “AXer”
Modernism;
“aaer”

1968

2.  Skep-cal:

quesEons
belief
in

given
truths

3.  Non-‐Formalist:

focus
on

meaning/content
rather
than

form

4.  Hybrid:

blurring
of

disEncEons
between
genres

and
media
(rejecEon
of

categories/pigeon-‐holes)

5.  Plural:
accepEng
of
plurality,

mulEplicity,
diversity

Image
source:

h_p://farisyakob.typepad.com/blog/2007/02/pseudomodern_co.html

Postmodernism

RejecEon
of
most

of
our
beliefs
about
“art”

Sarah
Maple,
Art
is
Crap

Image
source:

h_p://isiria.wordpress.com/2008/12/13/sarah-‐maple-‐art/

The
Avant
Garde

From
its
incepEon,
avant-‐garde
art
has

engaged
with
what
is
taboo
to

challenge
boundaries,
and
to
open
up

new
spaces
for
thinking

Andres
Serrano,
installaEon
of
Shit
photographs

Donald
Kuspit,
“ The
Triumph
of
Shit”

h_p://www.artnet.com/magazineus/
features/kuspit/kuspit9-‐11-‐08.asp

Paul
McCarthy,
Complex
Shit,
2008

Zentrum
Paul
Klee,
Bern

Technology

Wim
Delvoye
–
Belgian
arEst

Cloaca
–
machine
that
duplicates
the

human
digesEve
system

At
New
Museum
was
fed
with
food

from
local
restaurants

Got
some
bad
food
and
got
sick

Wim
Delvoye,
Cloaca,

New
Museum,
2002

Chris
Oﬁli.

Shithead.
1993


Kiki
Smith,
Pee
Body,
1992


Cindy
Sherman,
Un1tled,
1987


Kiki
Smith,
Tale,
1992

Source:

hDp://www.learn.columbia.edu/fa/images/large/kc_femart_smith_k_1.jpg

Kiki
Smith,
Un1tled,
1986


Seven
Dirty
Words:

The
Life
and
Crimes
of
George
Carlin

The
Concept
of
the
Avant

Garde

Avant-‐garde
art
challenges
accepted

values
in
order
to
make
us
think

diﬀerently

Image
source:

h_p://www.noordinarylife.biz/CreaEve_Mind_Mapping.html

The
Concept
of
the
Avant

Garde

Courbet’s
work
looks
like
“art”
now

because
he
changed
the
deﬁniEon
of

what
could
be
art

Gustave
Courbet,
The
Stone
Breakers,
1849

9.4 contemp trends

More Related Content

What's hot

Similar to 9.4 contemp trends

More from Melissa Hall

Recently uploaded

9.4 contemp trends