art210-0

Pablo Picasso, Glass and Bottle of Suze, 1912
charcoal, collage, gouache, cardboard, 64x50cm

Marcel Duchamp, Bottle Rack, 1914
Galvanized iron

Alfred Barr, The Development of Abstract Art, 1936print?? was a magazine cover for first issue of MoMA

Hank Willis Thomas, Colonialism and Abstract Art, 2019
reimagined barr’s cubism and abstract art diagram

Willem de Kooning, Gotham News, 1955oil enamel, charcoal, newspaper on canvas, 69x79 inches

Jackson Pollock, Number 1A, 1948

oil and enamel paint on canvas, 68”x8’8”

Hans Namuth, photographs of Jackson Pollock for ArtNews, 1951

Helen Frankenthaler, Mountains & Sea, 1952

unprimed canvas

oil and charcoal on canvas

86x117 in

Morris Louis, Faces, 1958

acrylic resin (magna) on canvas

91x136in

Frank Stella, Die Fahne Hoch!, 1959
Enamel on canvas

121x72in

John Cage and Robert Rauschenberg, Automobile Tire Print, 1953

took model A ford

20 sheets of glued typewriter paper paper

paint on 20 sheets of apper mounted on fabric

16x286in

Robert Rauschenberg, Bed, 1955

oil and pencil on pillow, quilt, and sheet on wood supports

75x31x8

Jasper Johns, Target with Plaster Casts, 1955

encaustic and collage on canvas with objects

129x111 cm change

Jasper Johns, Flag, 1954

encaustic, oil, and collage on fabric mounted on plywood, three panels

42x60cm

Jasper Johns, Painting with Two Balls, 1960

encaustic and collage on canvas with objects

65x54in

Allan Kaprow, Yard, 1961 and 1967

conceptual art, performance art

Andy Warhol, 32 Campbell's Soup Cans, 1962

acrylic with metallic enamel paint on canvas, 32 panels

each canvas 20x16

Andy Warhol, Gold Marilyn, 1962

silkscreen ink and acrylic on canvas

6’11x57”

Andy Warhol, 129 Die in Jet!, 1962

acrylic and pencil on canvas

100x72in

Andy Warhol, White Burning Car III, 1963

silkscreen

Andy Warhol, Race Riot, 1964

acrylic and silkscreen print

repeating images

newspaper; violence up for consumerism

red white and blue USA

hostile beings onto the protestors

clear depiection of power

took the photos off the press and mirrored it to have the police int he left 

subconscious thought of the police on the right when theyre not in the right

repetition makes it numb to it

but foster says that the repeated image is traumatizing so its repeated trauma but its desensitizing 

in modern context its normal but it was the first war to be televised for viet war

so it was new the images of violence in the public sphere

living room war

James Rosenquist, F-111, 1965

oil on canvas with aluminum, 23 sections

10x86’

Roy Licthenstein, Golf Ball, 1962
32x32 in

oil on canvas

Roy Lichtenstein, Drowning Girl, 1963

oil and acrylic on canvas

68x66in

Claes Oldenberg, Dual Hamburgers, 1962

burlap soaked in plaster, painted with enamel

normal burger size

Yoko Ono, Cut Piece, 1964

video performance art

***important 

recreating things in the public sphere but the artist is in control supposedly

Vietnam War - civil rights movements

the audience is engaged

and they are complicit in the violence in the world

watching the war and not doing anything being kind of helpless

the idea of being consumed

the body as available for consumption

Donald Judd, Untitled, 1965

galvanized steel

117x40x30in

sculpture

Carl Andre, Equivalent VIII, 1966

firebricks

12.7x68.6x229.2CM

Lynda Benglis, Untitled, 1970

acrylic foam

56x53x46 in

Richard Serra, One Ton Prop (House of Cards), 1969

lead antimony, four plates

each plate 48x48x1

Richard Serra, Strike, 1969-70

hot-rolled steel

8’x24’x1”

Richard Serra and Carlotta Fay Schoolman, Television Delivers People, 1973

short video that was tellivised, j short of 7 min in english

valie export

seizing mass communication, cross referencing value export

ironic tho cuz its still a man putting an idea out

Eva Hesse, Repetition 19 III, 1968

fiberglass and polyester resin, 19 units

Lawrence Weiner, Two minutes of spray paint directly upon the floor from a standard aerosol
can, 1968

language + the materials referred to

dimensions variable

Joseph Kosuth, One and Three Chairs, 1965

wood folding chair, mounted photograph of a chair, mounted phototraphic enlargement of the dictionary definition of chair

Bruce Nauman, From Hand to Mouth, 1967

wax over cloth

2’4”x1’8”x4’

Valie Export, TAP and TOUCH CINEMA, 1968/1989

video (bw, sound) 1:11min

Faith Ringgold, Black Light #10: Flag for the Moon, Die N_____, 1969

oil on canvas

36x50in

George Maciunas, USA Surpasses... 1966

Offset lithograph

21x34in

Guerilla Art Action Group (GAAG), BloodBath (MoMA), 1969

Art Workers Coalition (AWC, Poster Committee), Q: And Babies? A: And Babies, 1970

offset lithograph on paper

25x38in

Vito Acconci, Pryings, 1971

video 17:10min, bw w sound

the audience were watching the display of it happening

vietnam war how it was televised

lack of agency people had about the war and US involvement

heppening vs performance

happening was less planned and usually done by score (set of instructions that artist makes that can be performed anytime e.g., tire) 

happening is the type of performance and is associated with [??] movement

Judy Chicago, Menstruation Bathroom, 1972 (WomanHouse) 

Ana Mendieta, Arbol de la vida, 1977

colour photograph

lifetime print

20x25cm

Adrian Piper, Mythic Being Series (Cruising White Women), 1972

Adrian Piper, Catalysis 3 and 4, 1970

putting her art in the context that gives it the most power

exaggerating her own like features

race relations

mythic being

replicating the way women and people of color are observed and interacted with in society

exaggerated version, hyperbolic version of themselves

like the cut piece

Robert Smithson, Nonsite (Essen Soil and Mirrors), 1969

soil and twelve mirror

36x72x72in

Robert Smithson, Spiral Jetty, 1970

mud, precipitated salt crystals, rocks, water

1500ftx15ft

land art, tyrn into nature, taking up space, spirals into nothingness , lack of endpoint, eternity and permanence

photography

built on the late, not static

during a few months of the year its hidden under the water

changes the viewing relationship

paintings are more permanent

the viewing experience is not dictated by human

its determined by nature

a form of performance art in that sense

defined rather than extensive

Cildo Meireles, Insertions into Ideological Circuits, 1970

3 glass bottles, 3 metal caps, liquid and adhesive labels with text

warhol - everyone drinks coke. president or layman

consumerism, us cultural imperialism

Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965

performance piece