2. Ever ambiguous, even at its most
explicit, Stella’s art renders
spectacular the crisis of easel
painting in the twentieth century.
Stella has consistently explored new
expressions of formal abstraction
since he arrived on the New York art
scene in 1959.
First his black paintings and shaped
canvases, then monumental
geometric constructions known as
the Protractor series, followed by
several decades of works that
challenge the distinction between
painting and sculpture...
Frank Stella. The Pequod Meets
the Jeroboam: Her Story, Moby
Dick Deckle Edges. 1993.
Lithograph, etching, aquatint,
relief, and mezzotint. Printed and
published by Tyler Graphics Ltd.
3. Robert Morris, Untitled, 1967 -
68. Felt. Size variable.
Instalaltion view 1968. Leo
Castelli Galelry, New York.
Private Colelction, New York.
Metaphors for Life:
Process Art
Robert Morris was one of the central
figures of Minimalism.
In his sculpture of the 1960s and his
theoretical writings, Morris focused on
an art stripped to simple geometric
shapes in order to avoid metaphorical
associations.
He focused on the artwork's interaction
with the viewer.
Morris had an impressively diverse
range that extended beyond Minimalism
which included other contemporary
American art movements, most notably,
Process art and Land art.
In both his art and critical writings,
Morris explored chance, temporality,
and ephemerality.
4. Eva Hesse
Minimal Art introduced serial
systems in sculpture.
Many artists reacted against
the earlier movement's
impersonality, trying to invest
sculpture with emotionally
expressive qualities.
Eva Hesse. Accession II
1968. Galvanized steel vinyl
30-3⁄4 × 30-3⁄4 × 30-3⁄4”
Detroit Institute of Arts
5. Eva Hesse, Contingent , 1969.
Cheesecloth, latex, and
fibregalss on wire, latex on
eight panels.
Instalaltion 12’-7/8”x 9’-4 3/8” x
3’-2 ½”. National Gallery of
Australia, Canberra. .
Eva Hesse was among the first
artists of the 1960s to
experiment with the fluid
contours of the organic world
of nature.
Hesse's work was part of an
unique era in history, when
artists were seeking new
modes of expression after
Abstract Expressionism.
6. Linda Benglis’ “pours,” resembled
paintings but occupy the space of
sculpture. In Bounce and other similar
works from 1969, translated Jackson
Pollock’s famed drip technique into
three dimensions, spilling liquid rubber
directly onto the floor.
Linda Benglis, Bengalis
Bounce, 1969.
Pourec colored latex ,
size variable.
Private collection
Lynda Benglis, Pink Ladies,
2014, at Storm King Art
Center.
7. Sam Gilliam
• was one of the most important figures in American abstract art.
• emerged from the Washington, DC, cultural scene in the 1960s
• experimented with vibrantly colored, draped, and suspended
canvases.
• moved his canvases from the frame and wall into three-
dimensional space
• adapted the installation of his canvases for each space in which he
displayed them, allowing them to become site-specific.
Sam Gilliam
Carrousel Form II, 1969
Acrylic on canvas.
8. Jackie Winsor
• is a Canadian-American
sculptor.
• in the early 1970s, developed
style as a reaction to
Minimalism
• has been characterized as post-
minimal, anti-form artist
• created sculpture Informed by
her own personal history
• focused on elementary
geometry and symmetrical form
• eschewing Minimalism's
reliance on industrial materials
and methods
• incorporated hand-crafted,
organic materials such as wood
and hemp.
Jackie Winsor
9. Polish artist, Magdalena
Abakanowicz,
• born in 1930,
• created figures with individual
personality, each with its own
expression, with specific
details of skin.
• from early in her life, has held
a deep regard for the utilitarian
weaving done by Polish
women.
There is also a dichotomy in most
of Abakanowicz’s work, one
involving the powerful contrast
between vitality and death.
Magdalena Abakanowicz. Backs
1976–80. Burlap and resin, eighty
pieces each approx. 25-3⁄4 × 21-3⁄4 ×
23-3⁄4”. Installed near Calgary, Canada
10. Arte Povera: Merz and Kunnellis
• Arte Povera - "poor art" or
"impoverished art", the most
influential avant-garde movement
to emerge in Europe in the 1960s.
• It included the work of Italian
artists who used commonplace
materials, such as earth, rocks,
clothing, paper and rope.
• Their work marked a reaction
against the modernist abstract
painting, and emerged out of the
decline of abstract painting in Italy.
• The group also rejected American
Minimalism, for what they
perceived as its enthusiasm for
technology.
Mario Merz. Giap Igloo—If the
Enemy Masses His Forces, He
Loses Ground; If He Scatters,
He Loss Strength 1968. Metal
tubes, wire mesh, wax, plaster,
and neon tubes
height 3’ 11-1⁄4”,
diameter 6’ 6-3⁄4”
11. Mario Merz was fascinated by
architecture in particular by the
skyscraper-builders of New York City.
His father was an architect which
explains his sensitivity for the unity
of space and the human residing
therein.
Merz was intrigued by the powerful
as well as the small and applied both
to his drawing.
In the 1960s, Merz’s work with
energy, light and matter qualified him
as a member of movement that
Germano Celant named Arte Povera
Mario Merz. Triple Igloo. 1984
Mixed media. 20ft diameter.
Museum of Contemporary Art,
Montreal, Canada.
12. Jannis Kounellis
• was a Greek performance artist and
sculptor
• was associated with the Arte Povera
movement.
• abandoned painting and started to
make installations in 1967.
• focused on creating works that
juxtaposed disparate materials,
including stone, cotton, coal, bed
frames, and doors.
• selected materials, plants, and live
animals for their symbolism, and
often for their smell.
Jannis Kunnellis.
Cotoniera, 1967. Steel and
Cotton. Raussmüller
Collection.
13. Monumental Works
Walter de Maria
• Was born in 1935, in Albany,
California
• is regarded as a precursor of
Minimalism and Conceptual art.
• the artwork was planned to be
walked in to be experienced
over an extended period of
time. It can also be viewed from
a distance.
• Lightning Field can be visited,
weekly, by a small number of
persons, no more than six.
Big Outdoors:
Earth Works and Land Art
Walter de Maria. Lightining Field,
1970-77. A permanent earth
sculpture. 400 stainless steel poles,
with solid stainless steel pointed
tips, arranged in a regular grid array
(16 poles wide and 25 poles long)
spaced at 220’ appart; pole height.
Near Quemado, New Mexico.
14. Land art is an art movement in which
the artwork becomes an integral part
of the landscape.
Robert Smithson
• name is most associated with land
art,
• in 1970 produced the Land art, for
which he is best known, Spiral
Jetty, a coil of rock built in the
colored waters of the shore of the
Great Salt Lake in Utah.
• he died at the age of only 35, in
1973, in an aircraft accident when
he was surveying the site for
another Earthwork in Texas.
Robert Smithson. Chalk–Mirror
Displacement, 1969. 16 mirrors
and chalk approx. 10” in diameter
Art Institute of Chicago
15. Robert Smithson. Spiral Jetty,
1969–70. Black rock, salt
crystal, & earth. diameter 160’,
coil length 1,500’, width 15’.
Great Salt Lake, Utah
16. Nancy Holt’s Stone Enclosure:
Rock Rings artwork is intended
to connect the sky and the
earth.
The artwork is made of locally
quarried rock, from the
geological past of the location.
The rock in this artwork is
Brown Mountain Stone, the
230-million year-old schist
rocks, near Harrison Hot
Springs, B.C.
Nancy Holt. Stone Enclosure: Rock
Rings. 1977 – 78. Brown Mountain Stone.
Outer ring diameter 40’. Inner ring
diameter 20’. Height of walls 10’. Western
Washington University, Bellingham, WA.
Western Washington University Art Fund,
and the artist’s contribution.
17. Landscape as Experience
Mary Miss
• Field Rotation is a site
specific artwork.
• focuses on the ephemeral
nature of experiencing the
work art.
Mary Miss. Field Rotation. 1980-
81. Steel, wood, gravel, and
earth,
Located on a 5-acres site.
Governors University, University
Park, Illinois. National
Endowment for the Arts, 1981.
18. Richard Long. A Line in Ireland
1974. Framed work consisting of
photography and text. 50-3⁄4 × 32 × 1-5⁄8”
Richard Long’s artworks are
the result of “interventions”
he made on landscapes.
He photographed this work,
and recorded his physical
interventions within the
landscape
This piece reflects how Long
had already found a visual
language for his lifelong
concerns with impermanence.
19. Claes Oldenburg
• was born in 1929, in Stockholm.
• his father was a diplomat, and
the family lived in the United
States and Norway before
settling in Chicago in 1936.
• studied literature and art history
at Yale University (1946 to 1950).
• studied art at the Art Institute of
Chicago. (1950 to 1954).
• became an American citizen in
1953.
Public Statements:
Monuments and Large-Scale Sculpture
Claes Oldenburg. Bat Column, 1977.
Steel and aluminum painted with
polyurethane enamel. 96 ft. 8in high x
9 ft. 9 in. diameter, on base 4 ft. (1.2
m) high x 10 ft. diameter. Harold
Washington Social Security Center,
600 West Madison Street, Chicago
20. • Oldenburg moved to New York in
1956, and met George Brecht, Allan
Kaprow, George Segal, and Robert
Whitman, who were making
performance art.
• Oldenburg was a prominent in
Happenings and performance art
during the late 1950s and early
1960s.
• Oldenburg's early interest in
constructing environments such as
The Street (1960), The Store (1961),
and Bedroom Ensemble (1963) soon
evolved into a concentration on
single sculptures.
Claes Oldenburg. Knife Ship II,
1986. Steel, aluminum, wood;
painted with polyurethane
enamel. Closed, without oars:
7 ft. 8 in. x 10 ft. 6 in. x 40 ft. 5
in. Extended, with oars:
26 ft. 4 in. x 31 ft. 6 in. x 82 ft.
11 in. height with large blade
raised: 31 ft. 8 in. Width with
blades extended: 82 ft. 10 in.
Museum of Contemporary Art
Los Angeles
21. • Most of the large-scale
projects Oldenburg made
with the collaboration of
Coosje van Bruggen, whom
he married in 1977.
• Using ordinary, everyday
objects as his form of
expression, he went on to
develop "soft" sculpture and
fantastic proposals for civic
monuments.
Claes Oldenburg and
Coosje van Bruggen
Clothespin. 1976.
Cor-Ten Steel. Philadelphis
22. Richard Serra
• is a post-Abstract Expressionist sculptor.
• advanced the tradition of modern abstract
sculpture after Minimalism.
• worked collaboratively with artists from other
disciplines.
• The artwork started a controversial debate which
ended with the artwork being de-installed.
Richard Serra. Tilted Arc. 1981.
Solid hot-rolled unfinished plate of rust-
covered COR-TEN steel
120’ long x 12’ high Federal Plaza, New
York, NY, installed 1981, destroyed 1989
23. Maya Ying Lin
• was still a college student when her proposal won the competition for
the Vietnam Veterans Memorial in 1982
• transformed one of the oldest traditions for war memorials. She
decided to do use land as a blank space instead of men on horseback
or other traditional allegories.
• her Wall engages the visitor to reflect on what it stands for.
• used the natural landscape to integrate the wall.
Maya Ying Lin Vietnam
Veterans Memorial
1982 Black granite
length 500’ The Mall,
Washington, D.C.
24. Rachel Whiteread
• The Nameless Library, is a Holocaust
memorial.
• The sculpture is a concrete block 32
feet by 23 feet and 12 feet high .
• The external surface shows books and
two closed doors suggesting an area
made permanently inaccessible.
• The artist explained that the artwork
“It’s about not being able to enter,” and
It represents all the Jewish culture and
learning which was lost forever in the
Holocaust, Whiteread said.
Rachel Whiteread. Nameless
Library, 2000.Cast concrete.
30’ × 23’ × 12’ 6”. Judenplatz,
Vienna, Austria
25. Photorealism
Chuck Close
• is renowned for reviving portraiturestarting
in the late 1960s and continuing to the
present day
• emerged from the 1970s painting movement
of Photorealism, also known as Super-
Realism
• moved well beyond its initial hyper-
attention to the surface rendering of a given
subject
Chuck Close. Linda
1975–76. Acrylic on linen
9 × 7’.Akron Art Museum,
Ohio
Body of Evidence:
Figurative Art
26. Chuck Close. Self-Portrait, 1991
Oil on canvas. 8’ 4” × 7’. Museum of
Modern Art, New York
Close explored how
methodical, system-driven
portrait painting based on
photography's underlying
processes (over its
superficial visual
appearances) could suggest
a wide range of artistic and
philosophical concepts.
27. Marcus Harvey,
• born in 1963 in Leeds, is an English
artist and painter known for his
controversial works.
• created works of art with either
provocative subject matters
• made his painting Myra using casts of
an infant's hand to print a reproduction
of the iconic police photograph of Myra
Hindley
• Made comments about Myra that made
his painting more controversial.
Marcus Harvey, Myra,
1995. Acrylic on canvas
12’ 8” × 10’ 6”.
Saatchi Gallery London
28. Richard Estes
• is known for his Photorealist paintings of cityscapes
• the glittering stainless steel surfaces of
• telephones booths
• and storefronts.
• works from photographs
• began his career as a commercial artist. in 1968 where he started
working from photographs.
• has recently started to utilize digital software to manipulate images
for his source material.
Audrey Flack
• is known for her pioneering Photorealist sculptures and paintings.
• merges the excess of consumer culture with a skull, a mwmento
mori similar to those found in 17th-century Flemish still-life
paintings
29. Duane Hanson. Tourists.
1988. Auto body filler
with mixed media. Life size.
Scottish National Gallery of
Art,
Hanson’s Superrealist Sculpture
• Since the early 1970’s Duane Hanson has
been making impressively lifelike
sculptures accomplished through a
complex process of casting from live
models, fiberglass resin, pigments and
clothes he took appart and re-sew.
• Hanson selected working-class people
going about their business, and
transformed them into highly complex
works of art.
• He gave the people he depicted an
identity, highlighting their societal roles.
• Hanson is recognized as one of the most
accomplished hyper-real sculptors ever.
30. Stylized Naturalism
Pearlstein
• studied at the Carnegie Institute of
Technology's art school
• there he met Andy Warhol.
• moved together to New York with
Warhol after graduating in 1947
• painted a portrait of Warhol
• painted nude models in complex
interiors, featuring oblique
perspectives .
Philip Pearlstein. Nude
with Legs Crossed, 1974
Oil on canvas. 48 × 40”
Collection of Lewis and
Susan Manilow Chicago
31. Alice Neel
• painted individuals not types
• she painted Andy Warhol and her
neighbor's with the same level of
scrutiny, and curiosity.
• at height of abstraction persisted in
painting the figure and being a portraitist.
• while an active participant in the New
York art scene and connected with its
major innovators, she remained
commtited to her choice of style and
subject matter.
• persisted in making work that pleased
her, regardless of what anyone thought.
• Neel was virtually unknown prior to 1970.
• has been relatively uninterested in self-
marketing.
Alice Neel. Andy Warhol.
1970. Oil on canvas. 60 ×
40”. Whitney Museum of
American Art, New York
32. Alex Katz
• specializes in boldly
simplified portraits and
landscapes.
• has avoided affiliation with
any group or movement.
• he developed a dilogue
between realism and abstract
tendencies in modernism.
• owes technically much of the
crisp manner to commercial
art and illustration, along with
his uncomplicated display of
contemporary subjects,
Alex Katz, The Red Band. 1975
Oil on canvas. 73 x 146 inches.
Private Colelction.
33. Miriam Schapiro
• incorporated feminist imagery and marginalized types of domestic
craft into her work during Abstract Expressionism and Minimalism,
• was an activist for equal recognition and respect for women artists.
• she collaborated with Judy Chicago on the Feminist Art Project and
Womanhouse.
Joyce Kozloff
• Was one of the original members of the Pattern and Decoration
movement.
• was an early participant in the 1970s feminist art movements.
• was also a founding member of the Heresies collective.
• used decorative patterns in her large paintings,
• began to meet with other artists focused on related ideas and in
1975 formed the Pattern and Decoration movement.
Animated Surfaces:
Pattern and Decoration
34. Rothenberg and Moskowitz
Susan Rothenberg
• is known for her paintings of animal
and human depictions.
• uses bold outlines which compose her
forms
• first received critical acclaim for her
series of paintings depicting horses,
as seen in her piece Butterfly (1976).
Robert Moskowitz
• for many years searched for the image
that can be reduced to its essence
• combines extracted fragments from
well known artworks, paints them
against a flat vibrant color background
and arranges the canvases in a grid.
Figure and Ambiguity:
New Image Art
Susan Rothenberg.
Pontiac, 1979. Acrylic and
Flashe on canvas. 88 x 61“
Private Collection
35. Sultan and Jenney
Donald Sultan
• uses industrial materials to depict
flowers, game pieces to create
compositions framed by -black
backgrounds.
• moved to New York in 1975 and
joined the New Image movement
Neil Jenney
• is known for his “Bad Paintings” of
the 1960s and early 1970s, such as
Saw and Sawed (1969).
• his paintings were a reaction
against Minimalism and aesthetic
taste, with their purposeful rejection
of painterly competence
Neil Jenney. Saw and Sawed. The
Bad Painting Series. 1969. Acrylic
and graphite pencil on canvas,
with wood frame. Overall: 58 5/16
× 66 1/8 in. Whitney Museum of
American Art, New York; Gift of
Philip Johnson
36. Johnatahna
Borofsky
Hammering Man,
1981/82.
Steel. Mechanized
parts. 70ft tall
Jonathan Borofsky
• was born in Boston, Massachusetts, in
1942
• his Walking to the Sky series was
inspired by a favorite story told by his
father, about a giant who lived in the
sky
• In the mid-1980s, he started working on
larger-than-life three-dimensional
pieces.
• his art is a homage to what Borofsky
considered the worker in every human
being.
37. Chicago Imagists: Nutt and Paschke
Ed Pashke
• worked as a freelance illustrator for Playboy.
• was drafted into the Army. During his service he illustrated army
manuals.
• is best known for his neon-hued images of posters,
• was influenced by the Pop Art.
• produced works which were dark comments directed at the media
culture.
• during the late 1960s became a part of a group of artists known as the
Chicago Imagists, which included Jim Nutt, Gladys Nilsson, and Philip
Hanson.
Duro-Verde (Primary
Title)
Virginia Museum of Fine
Arts
38. New Image Sculptors: Shapiro and
Flannagan
Joel Shapiro
• is best known for wooden sculptures
of abstracted human forms.
• painted rectangular blocks and
arranged them in compositions that
suggest representational forms in
space.
Barry Flanagan’s
• sculpture consists of bronze
representations of figures, animals,
and other creatures.
• work employs stylization of form,
similar to Giacometti, but with a
humorous twist.
Barry Flanagan, Hare on Bell
with Granite Piers. 1983.
Bronze and Granite.
7’11 ½’ x 8’6” x 6’ 3”. Number
1, edition of 5.
Collection of Equitable Life
Assurance Society of the
United States, New Yotk.
