test 2, 20th cent modern art image ID

David Smith, Cubi XVIII, 1963

"relational work" think in comparison to Judd Judd would never make something like this (multiple things put together) inspired by collage, that sculpture could be made up of things But Smith replaced it with the idea of "drawing in space." He would use thin wire to produce linear, transparent sculptures with figurative motifs at their edges. Later he would use large geometric forms to create structures reminiscent of the vigorous gestures of the Abstract Expressionists.

Zaha Hadid, Vitra Fire Station, 1989-93

Although not aligned with any particular school, much of Hadid's work has been linked to Deconstructivism in its sculptural treatment of architecture as a container for interconnective spaces, dramatic untraditional angles, and volumes bursting with many little pieces. In this way, her realized buildings echoed her earlier paintings.

Martin Puryear, For Beckwourth, 1980

Beckwourth was written out of history minimalism? yes and no American artist known for his devotion to traditional craft. Working in wood and bronze, among other media, his reductive technique and meditative approach challenge the physical and poetic boundaries of his materials

Betye Saar, Liberation of Aunt Jemima, 1972

Emerging in the late 1800s, America's "mammy" figures were grotesquely stereotyped and commercialized tchotchkes or images of black women used to sell kitchen products and objects that "served" their owners. These included everything from broom containers and pencil holders to cookie jars. Perversely, they often took the form of receptacles in which to place another object. an assemblage that repositions a derogatory figurine, a product of America's deep-seated history of racism, as an armed warrior. It's become both Saar's most iconic piece and a symbol of black liberation and radical feminist art —one which legendary Civil Rights activist Angela Davis would later credit with launching the black women's movement.

Louis Sullivan (Adler and), Wainwright Building, St. Louis, 1890-91

FORM FOLLOWS FUNCTION its a crime to over embellish a building Art Nouveau Sullivan was known for the high quality of his decoration, which he used to emphasize the structure of buildings and unify disparate components rather than to distract from structure. He regularly repeated motifs, particularly semi-circular arches, and used materials that could serve as decoration rather than requiring additional ornamentation. He used twisting, organic motifs on terracotta facades and in ironwork, pioneering Art Nouveau in the United States.

Frank Stella, The Marriage of Reason and Squalor II, 1959

Frank stella had his friends carl Andre write his essay saying that these were not paintings for the catalog There is nothing in his painting Not symbolic This may be hard for you to take, but we have already known it All the symbols is just convention that doesn't get at any truth they are just costumes Judd and stella 121 What you see is what you see What else is there than seeing But that can be really something

William T. Williams, Elbert Jackson LAMF Part II, 1969

Hard edged geometric forms that recalled a ghetto tenement fire escape Critisizing the critic for looking at this work in only a race view

Robert Colescott, At the Bather's Pool (Venus is Still Venus), 1985sco

He is known for satirical genre and crowd subjects, often conveying his exuberant, comical, or bitter reflections on being African American. This will have been art love and politics of the 80s

Amy Sillman, Ass, 2010

Her process-based work, suffused with humor and conceptual exploration, employs vibrant color and intense layering and drawing, and seeks intensity rather than beauty campy exsessive Sillman is finding this in abstract expressionism to separate form and content is not possible

Joe Overstreet, The New Jemima, 1964, 1970

Here the artist has transformed the negative—albeit popular—image of a subservient Aunt Jemima into an empowered figure, wielding a machine gun with pancakes flying through the air like bullets. The artist lived and worked in the San Francisco area and published Beatitudes Magazine during his time in California.

Mark Rothko No. 5 (Untitled), 1949

His search for new forms of expression led to his Color Field paintings, which employed shimmering color to convey a sense of spirituality. (sublime)

Nam June Paik, TV Buddha, 1974-1982

In its simplest reading, this installation highlights the juxtaposition between the East and the West, or the historical and the modern, But more complexly, it reveals some fundamental issues brought up by technology, including the ambivalent position of religion, history, and images of our selves in contemporary society when viewed upon a screen, once removed from reality. As the media theorist Marshall McLuhan states, "It is the continuous embrace of our own technology in daily use that puts us in the Narcissus role of subliminal awareness and numbness in relation to these images of ourselves."

Wangechi Mutu, Shoe Shoe, 2010

In the videos the artist herself portrays different sides of womanhood. There is the empowered woman in the video, Cutting, where Mutu viciously hacks at a wooden log with a machete; an angry woman in Shoe Shoe, where she is pushing a shopping cart up a street before she begins throwing shoes from her cart at the viewer; a dressed up diva woman with huge high heels who squats down in front of a tree and eats cakes with her bare hands in Eat Cake; and the laboring woman who is endlessly scrubbing a dirt ground in Clean Earth, Themes that seem to run through the videos are anger, abasement, perseverance and consumption.

Donald Judd, Untitled, 1963

Judd wanted to only make objects Relational work- Judd and and David smith Minimalism- didn't like this name For Donald judd frank Stella finished painting so all he could do was go out into 3-d space

Yves Klein, Untitled, (Anthropometries) 1961

Klein's monochrome blue paintings might be read as a satire on abstract art, for not only do the pictures carry no motif, but Klein insisted there was nothing there at all, only "the void." Klein's pictures may also be read in a contradictory fashion. He was genuinely fascinated by mystical ideas, by notions of the infinite, the undefinable, the absolute, and his use of a single rich and suggestive tone of blue might be seen as an attempt to free the viewer from all imposed ideas and let their mind soar. For, as Klein believed, lines in pictures were a form of "prison grating," and only color offered the path to freedom. Throughout Klein's work, from his canvas monochromes to his later performances, there is a stress on immediate experience that reflects aspects of the Performance art movement of the 1960s. Although he was never specifically opposed to creating art objects, many of Klein's later works seem to want to abandon the object as a vehicle for art and instead find ways to more directly transmit ideas and experiences.

Nancy Holt, Sun Tunnels, 1973-76

Large scale could emphasize experience Initially there was no alignment between Land art and environmentalism. Many early Land artworks actively damaged the land. Holt was one of the first artists to use outdoor art as a platform for environmental activism. She introduced ideas central to environmental protection, conservation, and stewardship that were not initially central to the art movement.

Jonathan Lasker, Reasonable Love, 2007

Lasker doesn't want to throw out the modernist narrative He wants to take those ingredients and make pictures out of them To me this extestensial object hood was ready to be depicted as subject matter He is picturing abstraction Unfreedom is the simulacrum- a tragic condition that distances people from one another Making simulations of abstract painting

Le Corbusier, Notre-Dame-du-Haut, Ronchamp, France, 1950-55

Le Corbusier is one of the major originators of the International Style, along with such contemporaries as Ludwig Mies van der Rohe and Walter Gropius, with whom he once worked, among many others. His work was featured especially prominently in the landmark exhibition in 1932 at the Museum of Modern Art in New York - and subsequent book - that gave the movement its name.

Sol LeWitt, Serial Project I (ABCD), 1966

LeWitt's refined vocabulary of visual art consisted of lines, basic colors and simplified shapes. He applied them according to formulae of his own invention, which hinted at mathematical equations and architectural specifications, but were neither predictable nor necessarily logical. For LeWitt, the directions for producing a work of art became the work itself; a work was no longer required to have an actual material presence in order to be considered art. eWitt's conceptual pieces often did take on at least basic material form, although not necessarily at his own hands. In the spirit of the medieval workshop in which the master conceives of a work and apprentices carry out his instructions based on preliminary drawings, LeWitt would provide an assistant or a group of assistants with directions for producing a work of art. Instructions for these works, whether large-scale wall drawings or outdoor sculptures, were deliberately vague so that the end result was not completely controlled by the artist that conceived the work. In this way, LeWitt challenged some very fundamental beliefs about art, including the authority of the artist in the production of a work. His emphasis is most often on process and materials (or the lack thereof in the case of the latter) rather than on imbuing a work with a specific message or narrative. Art, for LeWitt, could exist for its own sake. Meaning was not a requirement.

Norman Lewis, Every Atom Glows, c. 1951

Lewis ceased painting Social Realist works in the early 1940s because he found the style was not effective to counter racism. He saw abstraction as a strategy to distance himself from racial artistic language, as well as the stereotypes of his time. Abstraction proved an important means to both artistic freedom and personal discovery. One marker of Lewis's work is his frequent use of the color black, which appears to predate that of his friend and fellow artist Ad Reinhardt. However, for an artist who was concerned with race and racism in America, painting during the turbulent 1950s and 1960s, it's hard not to see social commentary in his choice of palette.

Joe Overstreet, Purple Flight, 1971

Making an object that confronts you sculpture or painting?

Judy Chicago, Pasadena Lifesavers Red Series #3, c. 1969-70

My work couldn't be seen clearly in the male art world Body identification Its not an idealized form anymore Meet them with an emotional level you can get to the soft center Essentialism- there are masculine and feminine qualities that are unavoidable A social construction Inspired by the women's movement and rebelling against the male-dominated art scene of the 1960s, which lionized the Minimalist work of artists like Donald Judd, Chicago embraced explicitly female content. Creating works that recognized the achievements of major female historical figures or celebrated women's unique experiences, Chicago produced a rich body of work that sought to add women to the historic record and, more generally, to enhance their representation in the visual arts.

Kenneth Noland, Breath, 1959

Noland's concentric circles were not targets, the diagonals of his chevrons did not indicate receding space, and his broad horizontal stripes were decidedly not literal horizons. Each was solely a means of exploring pure color. This reductive approach also foreshadowed the emergence of Minimalism.

Eva Hesse, Accession II, 1967

Professionally trained as an abstract painter and commercial designer, Hesse is a paradigmatic postwar American artist, much like Ellsworth Kelly, who regarded painting not as a two-dimensional surface, but as an object on the wall to be extended into the space of the viewer before it. Mimicking the organic vulnerability of the human body itself, work by Hesse seems to take on a tentative or even ephemeral life of its own, its material density apparently enlivened by some invisible, psychological momentum. , the metal cube seems to have dropped straight out of a two-dimensional, Minimalist work of art, all the while the interior rows of tubing complicate its clean, exterior sensibility. Bristling along the inner walls of the cube like the quills of a porcupine, the protrusions give the cube an ominous aura that belies their soft plasticity. Is this a cloister of cushioning, or a torture chamber? The dual qualities of the box aptly characterize Hesse's own "life of extremes", the unknowing girl of a forced and tragic diaspora, and the accomplished university design student. Alluding to unexpected dangers and the need for a safe, protective space, Accession II embodies the artist's own fears and desires just as effectively, perhaps, as any more representational self-portrait.

Martha Rosler, Semiotics of the Kitchen, 1975

Standing in front of us like in a cooking show "anti-julia child" the way that they are presented makes the statement that women were not always happy in their assigned roles as housewife. The viewer is forced to consider that for many women there was a repressive, constraining force, beneath the surface of domestic bliss.

Gerhard Richter, Owl, 1982

Study of all painting tools is frequently fascinated by how a viewer's desire to extract "meaning" from a given work of art often proves utterly futile. He suggests that we might instead relish a simple experience of visual pleasure, or the discovery of "beauty" by way of studying abstract forms for their own sake.

Francis Bacon, Three Studies for Figures at the Base of a Crucifixion, 1962

Surrealism, and in particular biomorphism, shaped the style of this work, the work that launched Bacon's reputation when it was exhibited in London in the final weeks of World War II. The work established many of the themes that would occupy the rest of his career, namely humanity's capacity for self-destruction and its fate in an age of global war.

Lawrence Weiner, Rocks upon the Beach Sand upon the Rocks, 1988

The artist may construct the piece The piece may be fabricated The piece need not be built Each being equal and consistent with the intent of the artist, the decision as to condition rests with the receiver on the occasion of receivership "Language and matter acted as material" Weiner's medium is language. As a Conceptual artist his constructions of words and phrases seek to affect our perception of the spaces they are presented in. In appearance the language used by the artist is plain and neutral. In effect, however, this particular piece is quite evocative—the artist invites us to imagine ourselves surrounded by sand and rocks as we enter a space inhabited by art.

Tom Lloyd, Moussakoo, c. 1968

The choice of Lloyd's work as the subject of the Studio Museum's inaugural exhibition was therefore controversial, as most audiences—both black and white—expected African-American artists to produce work that was socially relevant or figurative. Lloyd's electronically programmed sculptures used colored light bulbs to create flashing projections that did not readily connect to the real world.

Sherrie Levine, After Walker Evans, 1981

The critic and curator Douglas Crimp interpreted Sherrie Levine's _______ of existing artworks as a critique of ____. Appropriation; originality.

Howardena Pindell, Untitled, 1968-70

The grid is foundational to modern art The grid is no longer idealized, but subject to its situation and gravity Everything is subject to particularities

Philip Guston, The Desert, 1974

The upheavals of 1960s made Guston increasingly uncomfortable with abstract painting, and his work eventually developed into the highly original cartoon-styled realism for which he is now best known. Occasionally, Guston seems to identify with the Klansmen, but at other times his dark cartoons resemble fearful urban worlds of racism and violence.

Robert Rauschenberg, Erased De Kooning, 1953

Through the erasure of De Kooning's drawing, Rauschenberg acknowledged his admiration for his predecessor, but also signaled a movement away from Abstract Expressionism. He framed the erased drawing within a simple, gilded frame, with a mat bearing an inscription typed by Jasper Johns that identified the significance of the seemingly empty paper. The absent drawing is presented as an art object, designating the act of erasure as belonging to the realm of fine art - a typically Neo-Dada act of questioning the definition and import of the art object.

Andy Warhol, Cow Wallpaper, 1966

When technology glitches, we are made aware of those glitch We are bombarded with with imagery- showing this horror Donto says that Warhol made art into a proposition Ended arts quest to define itself Its not like the design even matters but rather showing the visual culture

Fritz Scholder, Screaming Indian, No. 2, 1970

Working as a teacher at the Institute of American Indian Arts, Scholder was already a Native American artist of some renown. His work up to that point had come along with a vow — he would never paint a Native American figure. He believed the subject had devolved into a romantic cliché. But standing before his students one day, he grew frustrated with their inability to create an "honest" representation of current American Indians. So he carried his brushes and paints into the studio classroom and quickly filled the canvas with the figure he pledged to avoid. The same subject that would eventually define his works. Scholder's decision to break his promise marked a fierce turning point for campaign on behalf of Native American rights and for American Indian artists. His paintings disrupted comfort zones — even for Native Americans — by rawly exposing issues including alcoholism, unemployment and cultural clashes.

Frank Lloyd Wright, Solomon R. Guggenheim Museum, NY, 1957-59

Wright called his design philosophy "organic architecture," which, at its core, promoted the construction of buildings that exuded harmony with their respective environments, enhancing their surroundings rather than extruding from them. It promoted simplicity and necessity in layout and decoration and the frank exposure of the true properties of materials, befitting their use. Wright, unlike the architects of the International Style, did not shun decoration, but used nature as inspiration for ornament.

Frank Lloyd Wright, Robie House, Chicago, 1909

Wright called his design philosophy "organic architecture," which, at its core, promoted the construction of buildings that exuded harmony with their respective environments, enhancing their surroundings rather than extruding from them. It promoted simplicity and necessity in layout and decoration and the frank exposure of the true properties of materials, befitting their use. Wright, unlike the architects of the International Style, did not shun decoration, but used nature as inspiration for ornament. Wright was in large part responsible for creating the first indigenous American architecture, the Prairie Style, derived in part from the Arts & Crafts Movement, which reflected the flat landscape of the Midwestern United States and advocated for buildings with a strong emphasis on horizontality and natural materials, with broad, flat roofs with wide overhanging eaves. The last major residence that Wright designed before he absconded off to Europe in 1909, the Robie House is often considered the epitome of Wright's work in the Prairie Style, though it is not the largest example. It was built for a wealthy bicycle and auto manufacturer who actually only lived in the house for about eleven months before being forced to sell it, and ironically it has functioned as a true residence for very little of its existence. Nonetheless, it is the consummate essay in Wright's pre-World War I vision of domestic space, and one of the few buildings that he actually fought to preserve when it was once threatened with demolition.

Judy Chicago, The Dinner Party, 1974-79

a monumental installation celebrating forgotten achievements in female history. Chicago described it as, "as a reinterpretation of The Last Supper from the point of view of women, who, throughout history, have prepared the meals and set the table." The central form is a forty-eight-foot triangular table with symbolic places set for thirty-nine "guests of honor"—remarkable women from different stages in Western civilization. Each guest has her own runner, embroidered on one side with her name and on the other with imagery illustrating her achievement. Each place setting includes a glass plate, decorated with a butterfly or floral motif symbolizing the vulva. By incorporating elements of a contemporary social event with the status and appearance of a banquet, Chicago elevates her guests to the role of heroes, a traditionally male epithet. In essence, Chicago states, the work "takes us on a tour of Western civilization, a tour that bypasses what we have been taught to think of as the main road." The floor is inscribed with the names of 999 additional women worthy of recognition, while acknowledgment panels on the walls honor the 129 collaborators who worked with Chicago on the piece.

Willem De Kooning, Woman I, 1950

abstract expressionism his paintings exemplify Harold Rosenberg's definition of Action Painting - the painting is an event, an encounter between the artist and the materials, rather than a finished work in the traditional sense. unlike his contemporaries, he never fully abandoned the figure

Willem de Kooning, Gotham News, 1955

abstract expressionism his paintings exemplify Harold Rosenberg's definition of Action Painting - the painting is an event, an encounter between the artist and the materials, rather than a finished work in the traditional sense. unlike his contemporaries, he never fully abandoned the figure

Adrian Piper, Mythic Being, 1973

appeared In the pages of the Village Voice newspaper.

Jackson Pollock, Untitled (Naked man with Knife), c. 1938-41

before his frist drip painting in 47, was still showing form he familiar identity of things has to be pulverized in order to destroy the finite associations with which our society increasingly enshrouds every aspect of our environment (Rothko reading)

Daniel Buren, With and Beyond the Frame, 1973

buren uses context as his medium

Jackson Pollock, Pasiphae, 1943

confronts the viewer with a maelstrom of swirling and angular lines and broken forms, all pressed up to the front of the picture plane—an allover effect later seen in his "drip" canvases. The painter developed this novel interpretation of the Surrealist technique of automatism (which taps the artist's unconscious to compose the image) by creating dozens of colored drawings, a selection of which is on view nearby. Amid the chaos are barely discernible sentinel-like forms on both sides of a prostrate figure in the center. Pollock originally called this painting Moby Dick, but he retitled it after hearing the story of the Cretan princess Pasiphaë, who gave birth to the half-man, half-bull Minotaur. Throughout World War II, many artists mined classical mythology's vast repository of tragic tales of war, struggle, and loss.

Judith Baca, Great Wall of Los Angeles, 1976-1984

cultural landmarks and one of the country's most respected and largest monuments to inter-racial harmony. SPARC's first public art project and its true signature piece, the Great Wall is a landmark pictorial representation of the history of ethnic peoples of California from prehistoric times to the 1950's, conceived by SPARC'S artistic director and founder Judy Baca. Begun in 1974 and completed over five summers, the Great Wall employed over 400 youth and their families from diverse social and economic backgrounds working with artists, oral historians, ethnologists, scholars, and hundreds of community members.

Richard Diebenkorn, Woman in Profile, 1958

he was a contemporary artist who could successfully combine such diverse influences as Abstract Expressionism, Color Field Painting, and the whole history of European "belle peinture" ("beautiful painting"). in addition to being a more private than public individual and not self-aggrandizing, was fundamentally a West Coast artist - influenced by his New Mexico and California environments. These personal traits also found expression in his ability to create a kind of humanized abstraction, either through the direct use of the human figure within an abstracted setting or through the delicacy and personal expressivity of the touch of his brush.

Ludwig Mies van der Rohe and Philip Johnson, Seagram Building, New York, 1958

international style The International Style is often thought of as the "architecture of the machine age," which symbolized for many the crystallization of modernism in building design. This became particularly true after World War II, when the postwar economic building boom made the International Style a kind of "unofficial" American architecture.

Christo, Umbrellas, 1987

interventions in the natural world and the built environment altered both the physical form and the visual experience of the sites, thereby allowing viewers to perceive and understand the locations with a new appreciation of their formal, energetic, and volumetric qualities. The usage of umbrellas in each location symbolizes the similarities and the differences associated with the ways of life and the land usage in each area. They represented the varied availability and character of the land, and the temporary cycles of cultivation wrought by human industry. Not representative of a community This is a concept of man over nature in which this nation was founded on Cult of the exhausted individual

Lee Krasner, Listen, 1957

married to pollock Inspired by artist Piet Mondrian's "grid," Krasner helped devise the "all-over" technique, which in turn influenced Pollock's revolutionary "drip paintings."

Jeff Koons, Rabbit, 1986

pop art readymade With greater showmanship, and on a grander scale, than any artist before him, Koons presents us with the clash between high art and popular culture. kitsch

Joan Miro, Women at the Edge of the Lake Made Iridescent by the Passage of a Swan, 1941

prefigures the "all-over" of abstract expressionism

Lee Lozano, Untitled (General Strike Piece, Feb 8, 1969), 1969

radical Conceptual Art projects

Cindy Sherman, Untitled Film Still no. 6, 1977

utilizes the camera and the various tools of the everyday cinema, such as makeup, costumes, and stage scenery, to recreate common illusions, or iconic "snapshots," that signify various concepts of public celebrity, self confidence, sexual adventure, entertainment, and other socially sanctioned, existential conditions. As though they constituted only a first premise, however, these images promptly begin to unravel in various ways that suggest how self identity is often an unstable compromise between social dictates and personal intention.