The document provides an overview of major art movements and styles from 1945 onward, including Abstract Expressionism, Pop Art, Minimalism, Conceptual Art, Photorealism, Neo-Expressionism, and Postmodernism. It discusses key artists such as Robert Smithson, Chuck Close, Richard Estes, Bruce Nauman, Judy Chicago, Barbara Kruger, Cindy Sherman, and others. It also covers the emergence of Feminist art and themes of appropriation, pluralism, and postmodern criticism of modernism.

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

2. Minimalists The works are not “visual fields to see into,” like the Abstract Expressionists, but rather an “object to be looked at.” Repetition was an important concept, as was the industrial feel, with no sign of the artist’s brush.

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’.

5. Photo-Realism Photorealism (superrealism, hyperrealism) is a style of realism that the camera inspired. The stark images seek not to imply reality, but the imitation of reality as seen through the camera lens.

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 .

9. Conceptual Art Conceptual artists desired to get rid of the concept of art as object because they were opposed to the art market, much like Duchamp and the Dada “ready-mades.” Their desire to get rid of the art object was motivated by opposition to the burgeoning art market, which equated art with luxury commodities

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.

15. The history of art is characterized by a male gaze – treating men as subjects and women (often) as objects 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. They believed culture created the differences (and inequalities) between the sexes A rebuke to the male-dominant industrial look of Minimalism. Honored female art and the domestic realm Miriam Shapiro, Heartfelt , 1979. Feminism and Feminist Art

16. JUDY CHICAGO, The Dinner Party, 1979. Multimedia, including ceramics and stitchery, 48’ x 48’ x 48’ installed.

17. GUERRILLA GIRLS, The Advantages of Being A Woman Artist, 1988. Poster.

18. BARBARA KRUGER, Untitled (Your Gaze Hits the Side of My Face), 1983.

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

24. CINDY SHERMAN, Untitled Film Still #35, 1979. Black-and-white photograph, 10” x 8”.

27. Post Modernism Rejection of the doctrine of the supremacy of reason, the notion of truth, and the idea that we could create a better, if not utopian society. Cultural criticism Artists realized that art did not always “progress” forward - they often looked back to art history for inspiration. There were so many directions, that it was difficult to continue putting a name on each direction. Frequently use styles and references from the past – often with ironic or sarcastic effect Feminism taught historians that the published history may hold other layers, that have yet to be revealed.

28. Post Modernism Pluralism is the idea that art can take many directions at the same time. There is no longer any single leading artistic center, style, or media. Appropriation challenges traditional ideas about authenticity, individuality, copyright laws, and the location of meaning within a work of art. Video and digital technology become more widely used as well as installation, conceptual art, performance and multimedia art

29. Modernism Artist as grand creator Expressive Politically neutral True/Pure Focus on product Value in novelty Good = beautiful (or interesting) Postmodernism Pluralistic Collaboration Politically active Focus on effectiveness Process-based value Good = ?

30. Neo-Expressionism Neo-expressionist art emerges which renews interest in emotion and physicality of paint/media combinations They sought to bring back the sincerity and emotional intensity of the Expressionist movement.

31. JULIEN SCHNABEL

32. JULIAN SCHNABEL, The Walk Home, 1984–1985. Oil, plates, copper, bronze, fiberglass, and bondo on wood, 9’ 3” x 19’ 4”.

33. ” I don’t really care about anatomy. Something perfectly drawn to me is just somebody showing you they can draw.”

35. FRANCESCO CLEMENTE

36. SUSAN ROTHENBERG, Tattoo, 1979. Acrylic, flashe on canvas, 5’ 7” x 8’ 7 1/8” x 1 1/4”.

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’.

40. LEON GOLUB, Mercenaries (IV), 1980. Acrylic on linen, 10’ x 19’ 2”.

42. CHRIS OFILI, The Holy Virgin Mary, 1996. Paper collage, oil paint, glitter, polyester resin, map pins, elephant dung on linen, 7’ 11” x 5’ 11 5/16”.

44. MATTHEW BARNEY, Cremaster cycle, installation at the Solomon R. Guggenheim Museum, 2003.

45. Damien Hirst’s “The Physical Impossibility of Death in the Mind of Someone Living”

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

54. “Dream” “Broken Dream” “ You’ve got to take the rough with the smooth” – Damien Hirst on “Dream”/”Broken Dream”

56. Francis Bacon Figure with Meat, 1954

57. "Where There's a Will a and glass cabinet with painted resin, plaster and cast metal pills, 72 by 108 by 4 inches, 2007,

58. Agnes Martin. (American, born Canada. 1912-2004). The Tree . 1964. Oil and pencil on canvas, 6 x 6' (182.8 x 182.8 cm).

59. Damien Hirst, Saint Sebastian, Exquisite Pain

61. What now?

67. BANKSY

87. Kehinde Wiley: Le Roi a la Chasse (2006)

90. DIEGO VELÁZQUEZ, King Philip IV of Spain (Fraga Philip), 1644. Oil on canvas, 4’ 3 1/8” x 3’ 3 1/8”. The Frick Collection, New York.

91. Kerry James Marshall, “Past Times”, 1997, Acrylic and mixed media on canvas, 9’6”x13’

93. Child's drawing (source for Glenn Ligon's Malcolm X (Version 1) #1 ), 2000 watercolor on printed paper

94. Malcolm X (Version 1) #1 , 2000 Glenn Ligon (born 1960) Flashe paint and silkscreen on primed canvas, 96 x 72 inches

95. ELLEN GALLAGHER

96. KARA WALKER

98. SHEPHERD FAIREY

100. SHEPHERD FAIREY

102. Cai Guo-Qiang , "Inopportune: Stage One“, 2004 Cars, sequenced mulit-channel light tubes, dimensions variable Installation view: MASS MoCA, North Adams, Massachusetts

103. Cai Guo-Qiang , "Inopportune: Stage Two“, 2004 Tigers: paper mache, plaster, fiberglass, resin, painted hide; arrows: brass, bamboo, feathers; stage prop: styrofoam, wood, canvas, acrylic paint; dmensions variable

104. INGRID CALAME

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

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’

112. Recommended local sites for further exploration of Art: Denverarts.org MCA, DAM, Kirkland Museo de las Americas – on Santa Fe David B. Smith Gallery Plus Gallery Rule Gallery Robischon Gallery – on Wazee St. Center for Visual Arts – on Wazee St. Camera Obscura Gallery – Bannock St, by the DAM Foothills Art Center in Golden, CO