Flashcards

post 1960 art

camping dog English 99 cards

Cards in this deck (99)

1—Glenn Ligon, Untitled (I Am A Man), 1988, Oil on Canvas
2—Sharon Hayes, In the Near Future, 2009, performance, New York
3—Glenn Ligon, "I Feel Most Colored When I Am Thrown Against a Sharp White Background", 1990, Oil stick, gesso, and graphite on wood
4—Matthew Barney, The Cremaster Cycle,
5—Barbara Krueger, Your Gaze Hits the Side of my Face, 1981, Photograph with frame
6—Barbara Krueger, Wall to Wall, 1994, Installation, Serpentine gallery London
--influenced by Rodchenko and Stepanova but using it for issues other than advertising
7—Ai Wei Wei, Fairytale, Performance installation, 1001 chinese citizens, 1001 antique chairs, documenta 12, germany
8—Ai Wei Wei, Sunflower seeds, 2010, installation of painted porcelain objects, Tate Modern, London
--sunflower seeds as a symbol of the people
--empty shells=ephemeral traces of social activity
--essential needs and desires
9—Bill Viola, The Crossing, 1996, Two Channel Video installations with sound, Dallas Museum of art, Texas
10—Thomas Demand, Copy Shop, 1999, c-Print
11—Thomas Demand, Control Room, 2011, c-print
12—Pierre Huyghe and Phillipe parreno, No Ghost Just a shell, 1999, mixed media,
13—Andrea Fraser, Little Frank and his Carp, 2001, single chanel video with sound 6 minutes long
14—Phillipe Parreno, Mont Analoge, 2001, mixed media installations, paris
--lights blink out novel in morse code
--role of technology in art
--citing other art
--passersby might not know it is an art piece
15—Thomas Hirschhorn, Gramsci Monument, 2014, installation and performance, bronx nyc
16—Anne Imhof, Sex, performance installation, 2019, Art Institute Chicago
17—Walter DeMaria, Lightening Field, 1977, 400 stainless steel poles, 20 feet high, near gallup new mexico
18—James Turell, Afrum (White), 1966, Projection piece installed at LACMA
19—Anish Kapoor, Cloud Gate, stainless steel, public installation, Chicago
20—James Turell, Roden Crater, 1977-Present, Architectural installation, Painted Desert region of Northern Arizona
21—Chris Burden, Shoot, 1971, performance, santa ana california
22—Chris Burden, TV Hijack, 1972, performance, LA
23—Gran Fury, Silence = Death, 1986, Mixed Media Installation, New York
24—Giovanno Anselmo, Untitled, 1968, Granite, green lettuce leaf, copper wire, Philly
25—On Kawara, One Million Years [past] (for all those who have lived and died), 1969, leather bound artists book
26—David Hammons, Bliz-aard Ball Sale, 1983, Installation, cooper square new york
27—Gabriel Orozco, Home Run, 1992, Installation MoMA New York
28—Rachel Whiteread, House, 1993, Internal Casting of 193 grove road east london (destroyed)
29—Maria Eichhorn, Maria Eichhorn Public Limited Company, 2002, 50000 euro investment bank notes, wall safe offset on paper, plexiglas, wood, bench, the netherlands
30—Anne Imhof, Faust, 2017, Performance installation Berlin
31—Joseph Buys, felt suit , 1970, Felt and Wood, Tate Modern London
32—John Baldessari, Composing on Canvas, 1966, Acrylic on Canvas
33—John Baldessari, I will not make anymore boring art, 1971, graphite on wall, halifax
34—Michael Asher, Installation at the Clare Copley Gallery, 1974, LA,
35—Gerard Richter, 192 colors, 1966, oil on canvas
36—Gerard Richter, Funeral, 1988, Oil on canvas
37—Andreas Gursky, Salerno I, 1990, c-print mounted to plexiglass
38—Andreas Gursky, Hong Kong Shanghai Bank, 1994, c-print
39—Andreas Gursky, 99 cent, 1999, chromogenic print
40—Pierre Huyghe, The third memory, 2000, two channel video installation, SFMoMA
41—El Anatsui, Flag for a new World Power, 2004, aluminum and copper wire
42—William Kentridge, Felix in Exile, 1994, 35mm film transfered to video with sounds
43—Renee Green Import Export Funk Office, 1992, Mixed Media installation, MoCA
44—Ibrahim el Salahil, faces, 1964, india ink on drawing paper
45—Ibrahim el Salahil, the Inevitable, 1985-86, india ink on nine sections of bristol board
46—Rotimi Fani Kayode, Nothing to Lose IV (Forms of Experience), 1989, digital chromogenic print
47—Takashi Murakami, Panda, 2002, Fiberglass with unique louis vitton trunk
48—el anatsui, many came back, 2005, aluminium copper wire
49—magiciens de la terre, centre pompidou in paris, exhibit featuring richard long, 1989
--name translates to magicians of the world
--Jean Hubert Martin set out to make a show that counteracted ethnocentric practices in contemporary art
--sought to correct the problem of ignoring 80% of the earth
--featured 50% western art and 50% non western art shoulder to shoulder, where all exhibitors were still alive
--artists presented as individuals rather than by geographic location
50—Richard Long, A Line Made from Walking, 1967, photograph of performance presented as a sculpture
--what are we looking at?
--a photograph of something produced in nature by the artist that proports a scuplture
--an art student would describe the work as being where he made it
--a drawing in space that becomes definitive
--is this kind of language translatable to other areas of the world
--is it possible for there to be a universal language of representation
51—Damien Hirst, The physical impossibility of death in the mind of someone living, 1991, tiger shark, glass, steel
--decried as junk, something that belongs in an aquarium
--takes an image that we are all familiar with (the aquarium)
--you will probably be impressed by it the first time you see it
--charles sachi wanted hirst to make an absolutely terrifying piece
--shark found off the coast of australia and caught by shark hunter
--3 month process
--they did not use a taxidermist and the shark disintigrates such that the work cannot be seen so they got a new shark
--does the second shark change it to a different piece of art?
--display strategy as in a natural history museum
52—Guillermo gomez- pena and coco fusco, The couple in the cage: two undiscovered amerindians visit the west, 1992, performances, various locations including the field and the whitney
--today we are collectively much more in tune with the legacy of american life being grounded in exclusion than in 1992
--in which natives are displayed for the public
--places the question of spectatorship at the center of the work
--whitney bienneal included this piece on opening night
--they could pay $5 to see gomez pena's genitals
--there is a video of this that the whitney does not want distributed
--what kind of spectatorship is appropriate
--does the knowledge of intentionality change how we engage with the piece
--does identity change how one participates
53—Cai Guo-Qiang, Project to Extend the Great Wall of China by 10,000 meters: Project for Extraterrestrials 10 , 1993, 10,000 meter trail of gunpowder from the western end of the great wall into the gobi desert, ignited at dusk
--tiennamen square
--gunpowder is not a random choice
--bringing contemporary chinese art and cutlure to the world
--if one is on the peripherary one makes spectacular choices
--exists as a rumor, something more often imagined than experienced
54—Lin Yilin, Safely Maneuvering Across Lin He Road, 1995, performance, Guangzhaou
--first moment of chinese financial explosion
--takes cinderblocks and uses them to maneuver across a highway by stacking them
--moving the great wall
--his life is onthe line
--no one sees it
--its humbleness is at its core
--conveying spatital economic growth of modern china int he most simplistic way
--iconic work of chinese conceptual art
55—Yinka Shonibare, How does a girl like you get to be a girl like you, 1995, dutch wax print on maniquens
--title is from a hitchcock film
--victorian clothing, headless maniqueins
--african prints
--the work is about a quick read (african femininity)
--this notion gets problematized the more we know and the more we think about it
--intuitive cultural distinctions have been creolized
--art moves away from language
56—Douglas Gordon, 24 hour psycho, 1993, Video installation Tate London
--silent installation
--took psycho and slowed it down so it takes 24 hours to see the whole film
--sounds like a rip off warhol
--a joke on many levels
--how does cultural iconity appear
--warhol was making a cultural icon, this is making us look more closely at something that is already an icon
--presented in a gallery on a much smaller scale that the original film (work of art in a gallery vs cinematic masterpiece in theaters across the board)
57—Damien Hirst, For the Love of God, 2007, Platinum, diamond human teeth
--mythology/rumor is essential to contemporary art
--supposedly his mother came to his house after the shark and said for the love of god what are you going to do next
--the most expensive work of art ever produced
--no one wanted to buy it
--is it about vanity
58—Subodh Gupta, Very Hungry God, 2006, Stainless Steel containers
--working in an indian context and wants to think through a basic characteristic of of the world around him
--making the skull out of lunchboxes
--created before hirsts piece
--both seem to embody the strong male contemporary artist who tries to make a gesture that will be definitive of its cultural situation
--probably most well known work of art by an indian
59—Francis Alys, When Faith Moves Mountains, 2002, performance, peru
--belgian artist who moves to mexico
--embodiment of creolization in his art
--work involved going to schools in economically depressed areas on the edges of lima to recruit volunteers who would then be handed shovels and non identical white shirts transported to a hill and move the mountain ten centimeters
--maximal effort minimal results
--the future of art will involve bits of data communicated to other people and their power will probably align in rumor and idea
--rumor is the main idea of what he does
--allegorical procedure that gestures towards productivity
--change may come only gradually
60—Tino Sehgal, This progress, 2010, performance guggenheim
--most important work of art of the last ten years
--dancer and economist
--does not allow his works to be reproduced, does not give interviews, does not have catalouges
--you don't get anything from seeing the piece
--you cannot buy it in any shape or form
--representatives of the museum and of seghal take verbal statements that the piece is being transferred
--works for 6 weeks with a cast of people to create the work
--you can be in his exhibit without knowing
--visibility and invisibility as crucial elements of the work
61—Maya Lin, Vietnam Memorial, 1982, black granite, DC
--21 year old yale student wins competition to be in charge of the most important monument of contemporary american history
--the death of any person should be experienced individually not collectively
--she thought primarily of the families of the dead
--going down to the space is a meditative activity and then you have to find the name a process that forces you to see and aknowledge all the names
--most visited monument in the world
--the most fundamental thing that you expect a monument to do this doesn't
62—Cindy Sherman, Untitled Film Still #13, 1978, Gelatin Silver Print
--the book she is pulling off the shelf says "visual dialouge" about the relationship between narrative and images
--looking at some authority figure off camera who is going to be dissatisfied with the attempt to question patriarchial knowledge
--art used to capture moments from stories that everyone knew or could easily imagine
--shermans work is predicated on the fact that the work will make you invent stories
--illustrates a movement away from coherent narrative
63—Sherrie Levine, After Walker Evans 4, 1981, gelatin silver print
64—Richard Serra, Tilted Arc, 1981, Corten steel new york
--most controversial piece
--advocates said it was an important work but a known artist that transformed the space and advanced the concept of sculpture
--critics said it was ugly and ruined the site
--it was removed after a law suit
65—Olafur Eliasson, the weather project, 2003, monofrequency lights, projection foil, haze machines, mirror foil, installation in london
--how should art engage the public
--in the 90s museums become wise to the idea that we need to engage the public on a larger scale than simply having individual objects, people can find and fill their homes with objects they find throughout their lives, what they want is an experience they cannot get from an object which necessitates museums finding spaces that can have giant productions within them
--artifical sun: looks like the sun not just a representation of it
--visitors thought it was really cool, critics thought it didn't have any substance
--seen as merely entertainment
--questions the status of how the sun is relating to the earth
--what is the character of public experience
66—Tania Bruguera, Generic Capitalism, 2009, performance, chicago
--She's struggling to ensure the ability of artists to express themselves freely in cuba today
--art world people were invited to a big event
--they say not that we should expect obama to help us but that we should help obama
--some guy says: you don't care, then lots of people started yelling at them
--the next day it came out that tania had planted people
--shows how demographic algorithms prevent us from being confronted with shocking ideas
--the underlying characteristic of capitalism is that its segmenting and fracturing
67—MASS design group, national memorial for peace and justice, 2018, corten steel, alabama
--each bar represents a county in the us
--Each indention is the name of someone lynched in that county, in none of these counties is there currently a memorial to people lynched
--panels on the inside list names and dates of people murdered
--took years of research to determine the number of americans murdered in this way
--sense of responsibility
68—Gerard richter, 48 portraits, 1971-72, oil on canvas 48 paintings
--look like photographs from an encyclopedia
--iconic early 20th century white men
--today there is no way to see this piece and not see it as an indictment of the art world
--Enlightenment's collapse into its opposite
--what is the character of the knowledge born by art
--how does art participate in the construction of contemporary knowledge
--postmodern condition: end of metanarratives
--for richter our definition of knowledge exludes the majority of the globe and has been rendered in the standard narrative of modernity as irrelevant
69—Daniel Buren, Oliver Mosset, Michael Parmentier, Niele Toroni, Manifestation 3, 2 June 1967, Performance/lecture in paris
70—Hans Haacke, MOMA-Poll, 1970, audience participatory installation, 2 transparent ballot boxes
71—Martha Rosler, the bowery in two inadequate descriptive systems, 1974-1975, 45 black and white photos and 3 panels
--For generations the homeless sought shelter at the bower
--Semiotic system of pictures (signifiers) and words (signifier) both evoking something out of kilter, out of time, that doesn't really add up (Language should sound archaic even in 1974)
--intended to be seen in multiples
--the experience is one of that closer to investigator than viewer
--viewer is imagined as someone who wants to find beauty while viewer vs investigator is learning about a culture (fundamental shift in logic)
72—Fred Wilson, Mining the museum "Metalwork 1793-1880" 1992, slave machanals placed in metalwork display baltimore
--wants to reinstall collection by bringing things out of storage and putting them on display with things that are already on display with his own labels
--laconic title
--slave macanals
--maryland was a slave state throughout the civil war despite being on the union side
--called it mining the museum
--in a very literal way about his own history as a black man in the us
--his history is defined by the history that the maryland historical society is charged in sharing with the public but these objects are never shown together and our history has elided the barbarity
--wilsons concern is bringing the barbarity into the public eye
--investigation for insitutions to think about what histories they privlidge/repress
--what does it mean for artists to be the ones to do this
--this is another vector that contemporary art persues
73—robert smithsonian, spiral jetty, 1970, earthwork, salt lake city
--skeptical of the 60s, revolution, and human capabilities
--comes to the conclusion that the new york art world is not the right container for his work
--what kind of art do we really want : what contemporary art could evoke an experience like the pyramids
--sees himself as representative of american culture
74—Cindy Sherman, untitled film still #21, gelatin silver print
--fictive meditation: she plays the role of herself
--she makes a vast "fradulent" series
--a visual investigation that is therefore compromised
75—VALIE EXPORT, From the portfolio of doggishness, 1968, performance vienna
76—Felix Gonzales Torres, Untitled USA Today, 1990, 300 lbs of candy individually wrapped
77—Rachel Harrison, Hail to Reason, 2004, mixed media sculpture
78—Kara Walker, Subtlety or the Marvelous Sugar Baby, 2014, temporary mixed media installation
79—Marcel Duchamp, Etant donnes, 1966, mixed media
80—Jeff Koons, Puppy, 1992, stainless steel, soil, plants, bilbao
81—Andy Warhol, Soup Cans, 1962, synthetic polymer paint on 2 canveses
82—Andy Warhol, Gold Marylin Monroe, 1962, silkscreen ink on synthetic polymer paint on canvas
83—Andy Warhol, Triple Elvis, 1963, silver spray paint and silkscreen ink on linen
84—Andy Warhol, Sleep, 1963, 16mm film
85—Jean Tinguely, Homage to New York , 1960 , mixed media sculpture
86—Andy Kaprow, Yard, 1961, enviormental installation, tires, New York
87—Andy Kaprow, Fluids, 1967, installation, multiple sites, water
88—Agnes Martin, Leaf, 1965, acrylic and graphite on canvas
89—Donald Judd, Untitled (Box with Trough) 1963, oil on wood
90—Donald Judd, 100 works in mill aluminum, 1982-86, installation, chinati foundation texas
91—Robert Morris, Installation of works at green gallery, 1964-65, installation, green gallery, new york
92—Tony Smith, Die, 1962/8, steel with oiled finish
93—Richard Serra, One Ton Prop, 1969, lead, four plates
94—eve hesse, hang up, 1966, acrylic on cloth over wood, cord over steel tube
95—yoko ono, cut piece, 1964, performance, japan
96—VALIE EXPORT, paw and pat cinema, 1968, performance, vienna
97—Julie Mehretu, mural, 2009, ink and acrylic on canvas, goldman sachs
98—Marina Abramovic, The Artist is Present, 2010, performance, MoMA
99—Marina Abramovic, Nude with a Skeleton, performance, 2002-5, 2010, 2011, MoCA LA