Fichas

Art History Final

Lu Hourani Arts Inglés 50 fichas

Fichas del conjunto (50)

1—Marisol, Love, 1962, Plaster and Coca-Cola bottle
2—Antonio Berni, Juanito Laguna Goes to the City, 1963, Mixed media collage
3—Luis Felipe Noé, Closed for Witchcraft, 1963, Oil and collage on canvas
4—León Ferrari, Letter to a General, 1963, Ink on paper
5—León Ferrari, Western and Christian Civilization, 1965, Polyester, wood, and cardboard
6—Beatriz González, The Suicide of the Sisga I, 1965, Oil on canvas
7—Views of Marta Minujín and Rubén Santantonín, La menesunda (Mayhem or The Challenge), 1965, Installation & performance, Buenos Aires
8—Jorge de la Vega, Loss of Consciousness, 1965, Oil, glass, and fabric on canvas
9—Hélio Oiticica, Tropicália, 1967, Mixed media installation
10—Oscar Bony, The Working Class Family, 1968, Gelatin silver print
11—Tucumán Arde group, Inauguration of Collective Political-Experimental Action and Mass-Mediatic Event, 1968, Argentine Workers’ Central Union, Rosario
12—Antonia Eirez, A Tribute for Democratic Peace, 1968, Oil and collage on canvas
13—Margarita Azurdia, Please Take Your Shoes Off, 1970, Photographic documentation of interactive installation. Realized at the II Coltejer Biennial, Medellín, Colombia
14—Ana Mendieta, Untitled (Facial Cosmetic Variations), 1972, Color photographs
15—Cildo Meireles, Insertions into Ideological Circuits: Coca-Cola Project, 1970, Coca-cola bottle and transferred text
16—Victoria Cabezas, Untitled, 1973, Photographs
17—Victoria Cabezas, Jardin de las delicias (Garden of delights), 1973, Mixed media
18—Juan Downey, Video Trans America, 1973–76, Fourteen-channel video and vinyl map
19—Ana Mendieta, Image from Yagul, 1973, Color photograph
20—Cildo Meireles, Zero Cruzeiro, 1974–78, Offset lithograph on paper
21—Regina Silveira and Julio Plaza, Brush Technique, 1974, Screenprint and ink on paper
22—Cildo Meireles, Insertions into Ideological Circuits: Banknote Project (Who Killed Herzog?), 1975, Banknote and ink
23—Anna Bella Geiger, Native Brazil, Alien Brazil, 1977, Series of nine pairs of postcards
24—Sandra Eleta, Edita (the one with the feather duster, Panama), 1977, from the series Servitude, 1978– 89, Black and white photograph
25—CADA (Art Actions Collective), Not to Die of Hunger in Art, 1979, Performance/Action
26—Alfredo Jaar, Studies on Happiness, 1979–81, Billboards, Santiago, Chile
27—León Ferrari, Neighborhood, 1980, Heliographic copy
28—Luis Camnitzer, Her Fragrance Lingered On, from The Uruguayan Torture Series, 1983, Photo etching
29—Los Bestias, Des-hechos en arquitectura (Remnants or Unmakings of Architecture), 1984, Installation, Universidad Ricardo Palma, Lima
30—Leandro Katz, Tulúm after Catherwood from The Catherwood Project, 1985, Gelatin silver print
31—Juan Trepadori/The New York Graphic Workshop, Untitled, n.d., Aquatint and photo etching
32—Eugenio Dittborn, To Cloth (Airmail Painting no. 56), 1986-87, Ink, paint, and screenprint on kraft paper
33—Alfredo Jaar, This is Not America (A Logo for America), 1987, Digital video disk color animation of spectacular sign at Times Square, New York
34—Jac Leirner, Lung, 1987, Cigarette pack wrappers in Plexiglas box
35—Cildo Meireles, Missão/Missões (How to Build Cathedrals), 1987, 600,000 coins, 800 communion wafers, 2000 cattle bones, 80 paving stones, and black cloth
36—Studio NN, Mao Tse Tung, La carpeta negra, Lima (Mao Tse Tung, The Black Folder, Lima), 1988, Photocopy and screenprint
37—Taller NN, Vallejo Destruction/Construction, 1989, Screenprint. As installed at the 3rd Havana Biennial in 1989
38—Felix Gonzalez-Torres, Untitled, 1989, Billboard
39—Felix Gonzalez-Torres, Untitled (Placebo), 1991, Candies, individually wrapped in silver cellophane (endless supply), Ideal weight 1,000–1,200 pounds
40—José Leonilson, 34 with Scars, 1991, Synthetic polymer paint, embroidery thread and plastic tacks on voile
41—On wall: Jac Leirner’s Names (Museums), 1992, Plastic bags and polyester foam on buckram On floor: Leirner, Corpus delicti, 1992, Ashtrays, boarding passes, airline tickets, chain, glass, and bubble wrap
42—Doris Salcedo, The Widow House IV, 1994, Wood, fabric, and bones
43—Pepón Osorio, Osorio, Badge of Honor, 1995, Mixed-media and video installation (detail)
44—Oscar Muñoz, Breath, 1995, Metal mirrors, screen-printed with grease, 7 mirrors
45—José Antonio Hernández-Diez, The Brotherhood, 1997, Metal structure, pork rinds, skateboard wheels, trough, and three video monitors on stands
46—Adriana Varejão, Carpet-Style Tilework in Live Flesh, 1999, Oil, foam, aluminum, wood, and canvas
47—Doris Salcedo, Noviembre 6 y 7 (November 6 & 7), 2002, Performance, Palace of Justice, Bogotá
48—Muñoz, The Bridge: Two Video Projections, 2004, Video installation (detail), Ortiz Bridge and Cali River, Cali, Colombia
49—Antonio Caro, Colombia Coca-Cola, 2010, Enamel on tin, Edition 10/11
50—Still from Jonathas de Andrade, The Uprising, 2012–13, Video