midterm arths

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Sanchejq
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210794
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midterm arths
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2013-04-02 08:25:57
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  1. 1960
    • Tony Smith, Die.
    • Morris, Box with the sound of its own making.
    • Morris, ibox.
    • Schneeman, eye body: 36 transformative actions.
  2. 1965
    • Kosuth, art as idea as idea.
    • kosuth, one and three tables.
    • kawara, today.
    • hesse, hang up.
    • estes, telephone booths.
    • kusama, narcissus garden.
  3. 1970
    • araeen, chakras.
    • piper, catalys III.
    • saar, liberation of aunt jemima.
    • acconci, following piece.
    • burden, shoot.
    • naumen, walking in an exxagerated manner around the perimeter of a square.
    • estes, miami rug company.
    • haacke, shapolsky manhattan real estate holdings.
    • haacke, gallery goers birthplace and residence profiles.
    • serra, prop and casting.
  4. 1975
    • sol le witt, wall drawings 260.
    • bartlett, rhapsody.
    • estes, supreme hardware store.
    • kushner, the persian line part 1.
    • cragg, new stones.
    • roth, flat waste.
    • graham, performace, audience, mirror.
    • abramovic, rhythm 0
    • schneeman, interior scroll
    • chicago, dinner party
  5. Photorealist1. Reject medium-specificity
    2. Reject literalism -> figurative andtheatrical objects
    3. Reality effects (NOT naturalism)
    4. Phantasmagoria
    5. Hyper-real
    • estes, miami rug company 1980
    • estes, telephone booth,
    • estes, supreme hardware store,
    • flack, energy apples
  6. After minimalism After 􀁬End of Modernism􀁺
    1. Eliminate the object -> concept
    2. Concept in language -> serialistpermutations
    3. Self-reflexive objects (or)emphasize the 􀁬conditions􀁺 of theobject
    4. Temporal Experience -> serialistexpanse
    5. Subjective orientation, instead of objective (or) 􀁬Put the body at the center􀁺
    6. Study Social/cultural systems
    • haacke, a real time social system
    • haacke, gallery goers birthplace and
    • residence
    • hesse, hang up and prop
    • serra casting
    • morris, ibox
    • morris box
    • with the sound of its own making
    • bartlett, rhapsody
    • darboven, milieu  80
    • kawara, today
    • sol le witt, wall drawings 260
    • kosuth, 1 and 3  tables
    • kosuth art as idea as idea
    • tony smith die
  7. Appropriation Art
    1. Late Capitalism
    a. Kitsch
    b. Anthropomophicism
    c. Consumer spectacled. Consumer desire
    2. Marxist theory of valuea. (actual) value =materials + laborb. exchange value
    3. “Death of the Author”
    4. Myth of Originality
    5. “Always already” /cultural construction of meaning
    • prince, cowboy
    • levine, after walker evans
    • koons, new hoover
    • koons sandwhiches
    • koons, michael jackson and bubbles
  8. Responses to RealismPost-Communist
    1. After socialist realism = official art,official 􀁬truth􀁺
    2. Pastiche / Irony
    3. ideological ambivalence?
    wang, great criticism: nikon
  9. Language and the “Return of Pain2ng”
    America:
    1a. Material and Image Plurality‐ fragments, shards, contradictions‐ pain2ng plus 3D objects
    1b. A historical pas2che2. Images as linguis2c units (“signs”) ‐>which do not yield meaning
    Germany:
    1. The problem of con2nuing Germanart/cultural history (legacy of WWII)
    a. Reversal = refusal of tradi2on and the past
    b. Embrace the history in order to reject it.
    2. Language = acts of remembrance
    • baselitz, lazarus 1985
    • salle, ugolinos room 1990
    • cucchi, ferocious language 1980
    • schnabel, the sea 1980
  10. Pattern and Decoration
    1a. Reject modernist oppositionsart vs. decoration/craftartist vs. artisanhigh art (painting/sculpture) vs.low arts (textiles/furnishings)
    1b. Abstraction = artapproaching decoration
    2. Discordant plurality ofpatterns and materials
    3. Collaboration (artistic socialnetworks)
    4. Post-Fordism (related toLate Capitalism)
    5a. Gender (craft = 􀁬women􀁠swork􀁺)
    5b. Pattern / abstraction in non-Western cultures
    • kushner the persian line part 1 1975
    • macconnell, chair 1980
    • macconnell, tv room 1980
  11. Installation Art
    1. Work occupies gallery space
    2. Viewer immersion
    a. Integrate interiority/exteriority
    b. Direct relationship between viewer & artist’s labor
    3. Sculpture dissolves intoinstallation works
    4. Commentary on capitalisteconomy
    a. Production (“value”) ->
    b. Consumption(exchange value) ->
    c. Waste Product/Trash(loss of value) ->
    d. Artistic Appropriation(restore “use value”)
    5. Transposition of material &location
    6. Multimedia -> multisensory
    7. Conjuring cultural myth, memory,forgetting,
    • hamilton, malediction 1990
    • parker, neither from nor towards 1990
    • cragg, new stones 1975
    • borofsky, all is one 1980
    • kusama, narcissus garden 1965
  12. Body and Performance Art
    1. Body = mediuma. Timeb. Spacec. Parameters for action
    2. Rituala. Actions as symbolic actionsb. Evoke cultural meaningc. Masochism
    3. Subject <–> Subject(not Subject -> Object)
    4. Social Research
    a. Transgression of boundaries
    • acconci, following piece 1970
    • graham, performance audience mirror 1975
    • burden, shoot 1970
    • Nauman, Walking in a Exaggerated Manner Around Perimeter of a Square, 1970
  13. Feminist Art
    1. Subject <-> Subject
    2. Ethics of Power and Gender
    3. Objectification of WomenActive Male -> passive female
    4. Essentialismgender / biological sex
    5. Community of Women6. Activism / Self-Assertion
    • guerilla girls 1990
    • chicago dinner party 1975
    • schneeman, interior scroll 1975
    • schneeman, eye body 1965
    • abromovic rhythm 0
  14. Race / Identity Politics
    1) Strategies:
    1) “Naming”
    2) “Telling”
    3) “Mixing”
    4) “Turning Around”

    2) Confrontation / Dialogue
    1) Performing Race
    3) Race = Socio-linguistic construct
    4) Race = Pseudo-scientificConstruct

    1) Phrenology / Physiognomy
    2) Silhouette
    • Walker, World’s Exposition, 1997
    • weems, you became a scientific profile.1995
    • simpson, bio 1990
    • piper, catalys III, 1970
    • saar, liberation of aunt jemima 1970
  15. Ethnicity / Institutional Critique
    1) Deconstruction of Race
    1) Race = fallacy
    2) Perception & categorization
    2) Simulation / Parody ->Critique of racial constructs
    1) 􀁬Vanished people􀁺
    2) Static
    3) Primitive
    4) 􀁬Natural􀁺
    5) Untouched by modern,industrial society
    6) Fetishization of the 􀁢Other􀁠
    7) 􀁬Discovery􀁺 of the 􀁢Other􀁠
    3) Ethnic hybridity
    4) Study national borders
    5) Public Intervention
    • Gomez-­‐Pena, Tijuana-­‐Niagara,1988
    • Gomez-­‐Pena, Two Undiscovered Amerindians, Visit the West, 1992-­‐4
    • Durham, from On Loan from the Museum of the American Indian, 1984
    • Luna, ArCfact Piece, 1986-­‐90
    • Luna, Half indian/Half Mexican, 1991
  16. Post-Colonial Theory and Art
    Social and political realities of empire
    1) Permeable national borders
    2) Against the binary conception ofrace
    3) Subaltern “without a voice”
    4) “Ambivalence”
    5) Trade networks / identity networks6) Diaspora(s)
    • Hatoum, Strange Body. 1995
    • Hatoum, traffic. 2000
    • shonibare scramble for africa 2000
    • Araeen,Chakras, 1970
  17. ones without
    • gonzalez-torres, portrait of ross in LA, 1990
    • Gtorres, perfect lovers, 1990
    • GT, projects 34, 1990
    • bleckner, new radical 2000
    • bleckner, bird installation 1995
    • moffet, he kills me, 1990

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