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1. Postmodernism:
Contemporary
Trends
Art
109A:
Art
since
1945
Westchester
Community
College
Fall
2011
Dr.
Melissa
Hall
2. 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.
3. 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
4. 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
6. 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
7.
8.
9. Lisa
Yuskavage
Grotesque
distorEons
of
female
fantasy
ideal
Lisa
Yuskavage,
Wrist
Corsage,
1996
Museum
of
Modern
Art
10. 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
11. 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
12. 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
13. 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/
14. 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/
15. 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/
16. 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
17. 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
18. 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
21. Sculpture
Anish
Kapoor
–
BriEsh
sculptor
of
Indian
descent
Anish
Kapoor,
Un1tled,
2007
Metropolitan
Museum
22. 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
23. Anish
Kapoor,
Cloudgate,
2004,
Millenium
Park,
Chicago
h_p://www.anishkapoor.com/works/gallery/2004cloudgate/index.htm
24. 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
25. 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
26. Shadow
of
a
passerby
at
the
memorial.
Source:
h_p://en.wikipedia.org/wiki/Judenplatz_Holocaust_Memorial
30. Janine
Antoni
Used
mouthfuls
to
mold
heart-‐shaped
chocolate
boxes
and
lipsEcks
Janine
Antoni,
Gnaw,
1992
Museum
of
Modern
Art
31. 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
32. 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
33. Ron
Mueck,
Two
Women,
2005
hDp://www.melbourneplaces.com/melbourne/ron-‐mueck’s-‐sculptures-‐at-‐the-‐ngv-‐a-‐confron1ng-‐and-‐haun1ng-‐experience/
34.
35. Ron
Mueck,
Two
Women,
2005
hDp://www.melbourneplaces.com/melbourne/ron-‐mueck’s-‐sculptures-‐at-‐the-‐ngv-‐a-‐confron1ng-‐and-‐haun1ng-‐experience/
36. Ron
Mueck,
A
Girl,
2006
Source:
h_p://www.theslideprojector.com/art1/art1twoday/art1lecture29.html
37. 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
38.
39. 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
40. 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
41. 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
42. 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
43. 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
44. 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
45. Carrie
Mae
Weems,
From
Here
I
Saw
What
Happened
and
I
Cried,
1995
h_p://www.30americans.com/ArEst/Carrie_Mae_Weems/Weems2.jpg
46. 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
47. “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
48. 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/
54. 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
55. 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
56. 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
57. 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
59. 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
60. Sarah
Lucas
BriEsh
YBA
Uses
common
materials
to
evoke
pointed
comments
on
gender
Sarah
Lucas,
Au
Naturel,
1994
Saatchi
CollecEon
61. 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
62. Mike
Kelley,
More
Love
Hours
Than
Can
Ever
be
Repaid,
and
The
Wages
of
Sin,
1987
Whitney
Museum
63. 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
64. 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
67. 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
68. 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
69. 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
70. 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
71. 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
72. 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
73. Kara
Walker,
Slavery!
Slavery!
1997
Source:
h_p://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/images/201.699.jpg
74. Fred
Wilson
ArEst
Fred
Wilson
creates
art
by
curaEng
exhibiEons
Fred
Wilson
Source:
h_p://nashermuseumblogs.org/?p=1080
75. 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
76. 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
77. 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
78. 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
79. 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
80. 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
81. 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
82. 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
h_p://brayhamcontemporaryart.blogspot.com/2009/08/mona-‐hatoums-‐interior-‐landscapes-‐at.html
83. 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
h_p://brayhamcontemporaryart.blogspot.com/2009/08/mona-‐hatoums-‐interior-‐landscapes-‐at.html
84. Mona
Hatoum
InstallaEons
evoke
sensaEons
of
insEtuEonal
authority,
torture,
and
imprisonment
Mona
Hatoum,
Light
Sentence,
1992
Metropolitan
Museum
85. 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
86. Janine
Antoni
Loving
Care
–
feminist
update
on
“acEon
painEng”
Janine
Antoni,
Loving
Care,
1993
Brooklyn
Museum
87. 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
88. 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
89. 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
90. 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
91. 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
92. 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
93. 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
94. 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
95. 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
100. 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
101. Video
Bill
Viola
–
video
installaEons
that
invoke
tradiEonal
religious
themes
on
a
grand
operaEc
scale
Bill
Viola,
The
Crossing,
1996
Guggenheim
Museum
102. “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
103. 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
104. 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
105. 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/
107. 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
108. 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/
109. 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
110. 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
111. 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
112. Post
Human
Ma_hew
Barney
–
Cremaster
Cycle
Five
feature-‐length
films
created
1994-‐2002
Ma_hew
Barney
-‐
Cremaster
4,
The
Loughton
Candidate
113. 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
114. 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
115. 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
116. 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
117. 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.
118. 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
119. 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
120. 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/
121. 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
122. 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
123. Chris
Ofili.
Shithead.
1993
h_p://www.theslideprojector.com/art1/art1twoday/art1lecture31.html
125. Kiki
Smith,
Un1tled,
1986
h_p://www.theslideprojector.com/art1/art1twoday/art1lecture28.html
Seven
Dirty
Words:
The
Life
and
Crimes
of
George
Carlin
126. 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
127. 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
