C5 critical texts

Chris Ofili, No Woman No Cry, 1998

Niru Ratnam, Chris Ofili and the Limits of Hybridity (1999) - ‘hybridity is an utterly politically correct project’

‘Ofili is only really black in inverted commas’

Andy Warhol, Mao, 1972

Francesca Dal Lago, "Personal Mao: Reshaping an icon in contemporary Chinese art." Art Journal 58.2, 1992 - “This aura is central to assessing the huge propagandistic system activated in China during the Cultural Revolution via visual language.”

Rachel Whiteread, House, 1993

Richard Serra - ‘To remove the work is to destroy it’

Felix Gonzalez-Torres, Untitled (Portrait of Ross in LA), 1991

Brian O’Doherty, Inside the White Cube (1976) - ‘Hard-core Conceptualism eliminates the Eye in favour of the mind’

Kara Walker, The Subtlety, 2014

Jerry Saltz, “Kara Walker Bursts into Three Dimensions, and Flattens Me, (2022) - 'layers of history are caked on the walls with molasses, this place where brown sugar was turned white, multiplies the lurking meanings in Walker’s work’

Chris Ofili, Painting with Sh*t on It, 1993

Julian Stallabrass, High Art Lite (1999) - ‘[the artist’s] identities […] are media constructs’

Judy Chicago, Pasadena Lifesavers, 1969

Frank Stella - ‘What you see is what you see’

Chris Ofili, The Holy Virgin Mary, 1996

Bruce Nauman, Walk with Contrapposto, 1968

Bruce Nauman, in the film interview, Bruce Nauman in “Identity” (2001_- ‘If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product’ 

Jeremy Deller, Battle of Orgreave, 2001

Katie Kitamura, “Recreating Chaos”: Jeremy Deller’s The Battle of Orgreave, (2010) - ‘unresolved place in the continuing history of the original miners’ strike itself’

‘artworks ruled by unpredictability’

‘His art, in this sense, can be described as one of selection and suggestion […] Deller is regularly credited as the initiator of an artwork rather than its author’

Judy Chicago, Womanhouse, 1972

Betty Friedan, The Feminine Mystique (1973) - ‘The real enemy is women’s denigration of themselves’

Martin Creed, Work no. 227 (Lights go on and Off)

Brian O’Doherty, Inside the White Cube (1976) - ‘Hard-core Conceptualism eliminates the Eye in favour of the mind’

Judy Chicago, The Dinner Party, 1979

Linda Nochlin, Why have there been no great women artists (1973) - ‘the fault lies not in our stars, our hormones […] but in our institutions and our education’

Andy Goldsworthy, Rowan Leaves and Hole, 1987

Liberate Tate, Floe Piece, 2014

Richard Serra - ‘to remove the work is to destroy it’

Ana Mendieta, Silueta Series, 1973-80

Richard Serra - ‘to remove the work is to destroy it’

Richard Rogers & Partners, Lloyds Building, 1978-86

Joseph Kosuth, Art after Philosophy (1969) - ‘It is necessary to separate aesthetics from art’ - moving to a more functional method of representing art

Frank Gehry, Guggenheim Bilbao, 1993-1997

Chamberlin, Powell and Bon, Barbican, 1971-1982

Robert Venturi, Vanna Venturi House, Philadelphia, 1962-64